It’s the news all of us in Jo’Burg have been waiting for!
Pieter-Dirk Uys will make his first trip up to us since before Lock-Down hit.
The Echo of a Noise took everyone by surprise. After its first sold-out season at the Theatre on the Bay in 2016, the performer/writer has told his story to captivated audiences throughout South Africa. Now he will bring the experience back to the Montecasino Theatre. Having performed alone on the world’s stages for well over seven thousand times, Pieter-Dirk Uys has learnt that every show is the first and the last performance – because each audience demands and gets a different energy, topicality and excitement. Now in his 77th year, he doesn’t glance back at the successes and failures that have strengthened his belief in a constant improvement of his work, but at those small signposts that throughout his life subconsciously have pointed him in the right and original direction – his father Hannes Uys, his mother Helga Bassel, his grandmothers, his teachers, his passions: Sophia Loren, censorship, false eyelashes and making a noise when everyone demanded silence.
South Africa’s foremost satirist sits on a barstool, wearing his black beanie and his Almost Famous sweatshirt, and with his impish smile, he even looks like a naughty goblin trapped by the spotlight. Within minutes he fills the auditorium with his presence. This is just Pieter-Dirk Uys speaking and he opens his heart and talks about his private and public life. The big hair and silky repartee of Evita Bezuidenhout or the smoky drone of the sexy Bambi Kellermann have been stored elsewhere for some other time. It soon becomes clear that the title of his autobiographical one-man memoir, The Echo of a Noise, doesn’t really do justice to what he presents here. He leads you into his inner sanctuary, takes you through our history and shows where what is public and private meet.
Uys was and still is a voice in the wilderness, ever since he first appeared fearlessly on a stage in the 1970’s. He jokes that the all-powerful censor board was his own personal public relations department. We hear the recording of the voice of little Pietertjie Uys singing like an angel and accompanied on the piano by his father, Hannes Uys, whom he would accompany on Sundays to the church where ‘Pa’ was organist – the father whom he loved, but didn’t like very much; the sternest critic of his work and yet the one who could also give good advice. He tells of his father’s last moments, being with him as he died and then going back to the family home where Sannie, the housekeeper and his ‘Cape Flats mother’, asked if there wasn’t any washing from ‘Pa’. The audience is spellbound as he shares the suicide of his German mother, Helga, as well as the influences on him of his Afrikaans and German grandmothers. It’s as if Uys constantly takes his audience into his confidence and so breaks all the rules and crosses boundaries. He remains a master storyteller who can make as much fun of himself as he does with the others who get a lashing from his sharp tongue. This is arguably beyond the 7000th solo performance, yet it feels as fresh as his first.
Pieter-Dirk Uys’ one-man memoir – The Echo of a Noise
Pieter-Dirk Uys has taken South Africa by storm with his provocative and deeply personal memoir The Echo of a Noise. It is a story that aches to be heard and Uys knows how to keep his audiences on the very edge of their seats waiting to hear about the great influences in his life: his father Hannes Uys and mother Helga Bassel, and of course his unlikely pen friend, the beautiful Sophia Loren. Audiences are given the opportunity to celebrate a life well lived in all its emotional states. Uys has played to full houses and sold-out seasons. His masterful story-telling, wit and wisdom are generously shared. As with so many of his performances, he takes his audiences into his confidence, breaks the rules and crosses boundaries. Since the moment he first stepped on stage in the 1970s, Uys has been a voice where others have demanded silence. Jokes about the censor board being his own personal public relations department, gently disguise the reality that each time he treads the boards, he crossed lines and stepped on quite dangerous toes. He has always used humour as a “weapon of mass distraction” and describes the laughter he evoked as a relief from the fears that shaped South African society in the 1950s, 60s, 70s, and 80s. PDU unpowdered!
