Posts Tagged ‘Evita Bezuidenhout’


There’s probably going to be a lot of empty plinths in South Africa’s major centres soon – well, if this country’s self-styled landscape decolonisers get their way. The problem is: all those statues of Van Riebeeck will probably end up being replaced by statues of other particularly dour and/or problematic personages. So we want to propose something different: put up some statues of popular artists. But which ones would be most suitable? Here are a few proposals.

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Peter-Dirk Uys revives a familiar old crocodile for his show A Part Hate A Part Love. Photo: CuePix / Jeff Stretton-Bell

People go to see Pieter-Dirk Uys for the same probable reason they go to see the pyramids and the Parthenon: they have been there a very long time; and everyone else is going. And, like those other venerable ruins, you know what to expect, and you know you are seeing history.

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Evita Bezuidenhout arriving at 1820 Settlers Monument for the 2015 National Arts Festival in Grahamstown. 
(Photo: CuePix/Sithasolwazi Kentane)

Looking more like Angela Merkel than her heroine Marlene Dietrich, Bambi Kellerman took to the Guy Butler Theatre stage yesterday for a bit of late-afternoon pizazz. Kellerman, Pieter-Dirk Uys’s cabaret befok alter ego and younger sibling of Evita Bezuidenhout, described her stage routine as “heavy breathing with storytelling”. It was a fair assessment.

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Pieter-Dirk Uys on the set of African Times at the Rhodes Theatre, Grahamstown, 04 July 2015, at the 2015 National Arts Festival. Uys is one of South Africa’s most renowned performing arts satirists with over 20 solo plays to his credit. Photo: CuePix / Jane Berg.

Cue’s editors chat with the evergreen elder statesman of South African satire about relevance, reverence & reflection.

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Barney Simon's Born in the RSA returns to the stage (above) while Nicholas Ellenbogen (right) has another installment of the ever popular Raiders. Photos: Rodger Bosch and Cuepix/Niamh Walsh-Vorster

Gracing (disgracing?) the cover of the Festival programme this year are two fictional creations, one a comparatively recent addition to our satirical landscape, the pugnacious puppet Chester Missing, the other a flesh-and-blood institution, Evita Bezuidenhout, who has arguably eclipsed her creator in the minds of those who seldom visit the theatre.

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