Tightrope - Ken Post - Labyrinth Busker Journal

It may not have been the most far-reaching, life changing event of 1999 in the eyes of the world - but the world, if

it is healthy, composes of groups of individuals like these. Their aim is to inspire themselves and others - and to share the mutual building of something that will entertain for awhile, with a social commentary there to be had for those who wish it so.

In England, you will see this spirit in the Amateur Dramatic Societies.You will find this spirit

in all street parades, carnivals and other outlets that offer a window of presentation to the world.

But there is too often an end fence where the sign ,"Know your station' adorns the borders - and a group of arrogant patricians will laugh at your efforts should you attempt to scale the fence.They will line up, swords drawn, should you attempt to negotiate the fence. But there are a few places where a small group of determined individuals can create the feel of a movement and take an artistic project to potentially unexpected heights.

Tightrope was a masterpiece as a musical, because it walked the Tightrope in such a way that everyone would glean some understanding from it - but no one could entirely comprehend it. Ken Post allowed his cast to build and improvise on his script -- and, if they wished, they could uncover their own melody or arrangement onto the songs they were required to perform.

But there is more than this! In Europe there were Flemish and Dutch seeking to master a script that would have left many an Anglo-Saxon struggling. For the New York shows there was the amazingly rapid blend of New Yorkers and Euros seeking one purpose:- the successful performance of the 6 Tightrope shows scheduled in the Fringe Festival.

The downfall?

Well.... amongst the sweet smell of triumph lingered the faint whiff of defeat.The unity of the Euro contingent had

become just a little jagged before the New York trip. By the time the shows had been completed the unity had

effectively collapsed. It had nothing to do with the shows. It had all to do with the relationship disruptions amongst

the group and a feeling that they were grown (inwardly) enough to persue their own projects.

In the end.... no one was able to replace Tightrope within themselves. It was something that enthused them. It was something they could criticise - even seek to minimalise. But when it came down to it .... no one could replace Tightrope within themselves.

There was the sheer exhaustion of Ken Post, after a year of the play's painful delivery. You can imagine it cost Ken

much in sweat and stress. Is it any wonder that the consequent burn out left him unable to capitalise on the triumphant return to Belgium?

VTM (television) had run a news report on us. A million people were suddenly made aware of the name 'Tightrope'.

Strike while the iron is hot! It didn't happen....and it should simply have been more shows like those performed at the Tschaplin,Deurne.There was one key difficulty with any attempt to stage a show - and it was near insurmountable -

the cast had either fallen away, or were bereft of the unity that carried the project from its first mumblings in the Muziekdoos on to its radio Centraal airing - and on to the ten live shows in Antwerp and New York.

On the last night in New York, as I witnessed all my fellow performers click ever more onto their roles, I thought that if we were to do another four or five shows we would be unstoppable. In the end, however, Tightrope is an experience that will not be forgotten by those who helped it grow in '98/'99.