Two of the country’s best production companies, The Theatre Company and Gems Theatre Productions provided one of the crucial components of the Republic Jubilee celebrations, the cultural factor, and in this case, theatre. They produced, as they used to do customarily at this time, The Link Show 35.
The Link Show was, as usual, directed by Ron Robinson and produced by Gem Madhoo-Nascimento, the most accomplished in their fields in Guyana. They recruited a new choreographer, Esther Hamer, a member of the National Drama Company, and retained the production’s stage manager, Paul Budnah.
This was the second in what may be called the renewed series of Link Shows after yet another break in the normally annual satirical production. The two production companies and their leading personalities were able to restore their fractured partnership to resume the signal production in 2019, and this continuation in 2020 is extremely welcome. This is also the second such resumption and it may well be an indication of permanence this time. The Theatre Company’s effort to continue the satirical series on its own in 2018 did not quite fit the vacancy.
But how important is The Link Show? And why is it so important over and against all or any other productions on the Guyanese stage? It has to do with the historiography and significance of this performance which transcends the Guyanese stage and goes well beyond it to the theatrical traditions in the Caribbean.
The Caribbean stage has two factors that have been at the core of its history for centuries and involve both the folk traditions and the mainstream formal (western) stage. One is the comic tradition that existed in many folk performances of African origin, as well as others with European derivation, and mixtures of the two. The other is the satirical tradition which also existed in folk performances with African derivation.
These continued into the development of local versions of the formal mainstream stage which inherited western or European characteristics. Very strong among these has been the satirical tradition. The enslaved lampooned white society, and many acts developed which were take-offs of the manners of the plantocracy. These continued into the development of the mainstream drama with the Backyard Movement or Yard Theatre being one of the comic traditions. Another was stand-up comedy in vaudeville shows, which contained much sexual humour, but also social satire.
The Jamaica Pantomime Musical is the oldest surviving drama in these traditions with its elements of the English Pantomime, the folk performance, the modern social and political satire, and the laughter. Also, in modern times, there developed in Jamaica, the year-end revues, which were all satirical, and others of the kind developed in Barbados. The Brink was the Guyanese version of the year-end revues, and The Link Show took it up in Guyana after the extinction of The Brink.
The tradition, however, fell heavily under threat and all the annual productions ceased or faded, leaving only two survivors – the Jamaica Pantomime and the Link Show. The Link itself, then became endangered with the threats to its own survival in recent times. The extinction of this would be a great blow to the Caribbean satirical tradition.
Added to the return of this satirical revue is another very welcome signal. The show was sponsored by KFC and perhaps other private companies. This investment must have been substantial, since it was enough for the show to be referred to as the KFC Link Show. Theatre, and the arts in Guyana generally have struggled to attract corporate sponsors, who seem not to be interested. They will more quickly respond to events of mass popularity than to the arts, which tend to be more exposed to smaller audiences. Some productions such as Uncensored and Nothing To Laugh About, which corner the popular market, have had private investment for years, while others of a contrasting type like Naya Zamana, which, however, always plays to a full house, and the quieter Theatre Guild have benefited from corporate support. So did the National Drama Festival for a few years. There is no trend; it is still far away from robust, but one might be tempted to predict more of this in the future.
Link Show 35 played for only two performances, quite a reduction from some record long runs of the past. This is surely a reflection of current trends in theatre in Guyana. Plays are far fewer now than in past years, and this results from a combination of factors. One is the cost of productions, which is high, and discouraging to producers who have no guarantee of a good house. Tickets will more likely be sold for farce or comedy, and everything else takes a risk. The audiences have dwindled and will choose to attend only the most popular.
Link Show 35 stuck to the formula that it has built over the years, and this included some old favourites. One of these is “Over de Fence”, set in the back of two yards divided by a fence with two women neighbours on either side. They are soon joined by a third who is visiting one of them. They engage in banter, conversation, gossip and a few disputes, but always hilariously. Among the best qualities of “Over de Fence” is the ability to comment on a number of topical issues, satirize the manners of the times and human behaviour. The script was generally good and ranged from laughter at the barefacedness of a parasitic neighbour to the general elections in Guyana. A few of the best quips on that topic were to be found in this piece.
What was helpful was the good quality of the acting executed by actresses Sonia Yarde, Nirmala Narine and Colleen Humphrey, who are all well versed in the kind of delivery needed by the type. The overflow between humour and satirical content was seamless in the piece, which flowed at a good pace with sharp punchlines. “Over de Fence” was among the best of the skits.
A mixture of good and ordinary moments were experienced in another old favourite, “In the Market”. This piece was rich in content and effectiveness with practically the whole cast on stage at one time or another. While the quality was not homogenous, the good moments stood out and several social concerns were treated along with the local politics. Among the pieces of satire was the police force, which was dealt with in a number of other pieces as well.
The force was a topical issue, and, indeed, is often in the news these days for the wrong reasons. There is a pervasive culture of police misbehaviour in Guyana which provides a fruitful field for the Link Show. They went to town on police misbehaviour in a few skits set in the police station. The daily news is fraught with reports of rogue elements and offences committed by the lawmen, and there was take-off on this in the pieces with Mark Luke-Edwards, in particular, Michael Ignatius and Sean Budnah as standouts. The irony was not lost in those skits where the officers who were called upon to defend and serve people were instead, fleecing them. This acquired culture in the society was effectively reflected.
Closely aligned to this was the treatment of another public official whose job it is to do good and give service to mankind, but who repeatedly makes the news for exploiting and deceiving – the church leader. A cynical view of pastors, preachers and reverends has formed in the society because of the predators who don robes and mount the pulpit to enrich or gratify themselves. This was the subject of “Prayer Meeting”, another of the memorable skits.
Yet another culture satirized in drama is one developed by public servants and the average clerk in an office, who perfect the art of not serving the public. Their characteristic behaviour and the frustration they generate were ready targets for some of the skits.
Perhaps the greatest expectation of the very large audience in the theatre for this show was how the performers would handle the elections. It worked in their favour that they were performing just before the election day, so all the rich veins of ore provided by the campaigning politicians could be mined for satirical attention. The wild promises and ridiculous behaviour were indeed exploited by the scriptwriters and performers, but they did not always make a success of it.
The Link Show fell a little short of expectations in this department. They executed a few short references and sharp quickies on the subject with some rollicking humour at times, but also produced too many lengthy treatments that fell a bit flat. Perhaps many things were so predictable that they came over as tame, if not slightly stale. Treatment was occasionally one-sided, loaded against the opposition. To be truly effective, satire cannot entrench popular prejudices and biases; it is the duty of satire to eliminate those.
The treatment was particularly good where it did an effective take-off on persons crossing the floor for personal benefit. Likewise, there was telling lampooning of politicians telling the people what the people want to hear; and the fact that it works.
What worked, as well, was the large cast that included Robinson, Mark Kazim, Nelan Benjamin, Simone Dowding, Simone Persaud, Andre Wiltshire, Joshua Persaud, Lee Leung, Jennifer Kendall, Travis McKenzie, Alicia D’Abreu, Paul Budnah, Yohance Koama, Zoya Moore, Makini Thompson, and Stephen Mohamed.
There was not much to remember from the music in Number 35, but the choreography was a useful enhancement. It works very well when choreography can actually support satirical treatment in a performance.
Dramatic production in Guyana today is up against all manner of impediments and survival is seriously threatened. We can hope, though, that the Link Show has returned and is here to stay. Robinson and Madhoo-Nascimento can justifiably feel satisfied with the production of Number 35.
