The performance by The Theatre Company of the twenty first edition of the Link Show is, without any doubt, a major achievement in Guyanese theatre, and it is worth repeating some of the factors that provide it with good reasons to celebrate. Not only has it become an established tradition in Guyana, but it also continues the satirical tradition in Caribbean drama. Satire is at the root of the region's folk theatre and the Link Show is one of the few surviving versions of the annual satirical revue on the Caribbean stage. Adapted from the Theatre Guild's Brink show series, it has evolved into its current form and identity.

Because it is, by nature, an art form which challenges political authority in a most direct way through open criticism, the freedom with which it can do this in Guyana may be counted among the things to be celebrated. Given this country's past history of political censorship, the impunity with which the Link can now lambast the government is noteworthy. This element of free expression is a right, not a gift, and it is some credit to the political directorate that the climate for dissent now exists. What creates a problem is that they sometimes receive it rather badly. They look upon criticism with a sense of paranoia, if not ill will, accompanying this with a dangerous guardedness which shadows the free flow of information.

Apart from the political, there is yet another context in which there is cause for celebration. The Link is an outstanding pillar in this season of collapse in the theatre in Guyana. It is characterized by sold out houses while other productions struggle at the box office. But this emphatic popularity gives the show the weight of greater responsibility, which goes with most freedoms. It can be an important vehicle for change through real satire. Therefore, the Link should not fan the flames of divisiveness and political polarization which plague the nation. It should avoid the entrenchment of wild, baseless rumour and the more libellous variety of street gossip, which are so temptingly hilarious.

This satirical revue is successful because it has found a settled form and structure, performed by a team now well practised in the art. They know the style of take off and lampoon, which they execute like a well oiled guillotine. And what is also significant is that it has very high entertainment value.

The Link Show probably achieved its zenith in 2000 with Number 19, because it demonstrated a sound combination of humour and satirical form in items which settled down as regular features. Number 21, directed by Ron Robinson, did not take the best advantage of this base. Its weaknesses are found in the same areas as its achievements.

There is less political polarization, no visible bitterness and partisanship in the way the government is lampooned this time. The great emphasis is on humour and entertainment, which quite pleases the audience. But there is a slip in deep satiric content. Many real, important issues go untreated and the spaces created give way to predominant, rampant farce.

The successful blend of laughter and commentary is found in such items as the "Over the Fence" dialogue between two loquacious housewives, some of the "Quickies," the songs and the dances. But in Link Show 21, there is mixed achievement. This year's scene outside Stabroek Market, for example, is "Even the Cops and All," focusing on the follies of the police. Worthy issues, however, are left alone to be taken over by farce, dominated by a plot highlighting homosexuals in the force; a topic that could have been motivated by the jokes it readily provides.

The songs are not themselves 'take offs' as in previous years, but flat renditions, luke warm, one dimensioned and repetitive, with the lead singer forgetting a few lines. The dance, which occasionally manages to be commentary, is this time pointless, as is the item "Who Wants to Be A Millionaire?"

On the recurring theme of seeking the perfect blend between hilarity and social comment, the stand up comic routine in which John Phillips excels, stands out. It is well composed, weaving topical issues around the theme of a popular song, "Everybody Peeping," with good effect. It seems to exploit the heritage of the transvestite comedian left by Andr? Sobryan, but Phillips is sensible enough not to try to imitate "Miss Lottie," but to follow his own style. This monologue is one of the high points of the show. Also very effective is the expos? of the distasteful behaviour of funeral parlour touts at the public hospital. This is one of the skits, however, which are over lengthy and superfluous. Although, in this case, the punch line is good, it is too long in coming. In others, there is a long wait for a weak punch line.

Robinson's Link Show 21 is, overall, exceedingly rich in laughter and entertainment, very competent in pace and fluency. Yet one gets the impression of an underprepared, under rehearsed package. It buckles under the myriad failings of the Cultural Centre equipment. What remains amazing is that the inputs of expensive sound systems seem to have been to no avail. The sound is appalling: loud, unmodified and inconsistent. It has been bad in this production, outdone only by its failures in last year's Amerindian Heritage Beauty Pageant when it was embarrassing.

On a different note, this is the first Link Show without Gem Madhoo as manager and cameo actress. She was one of its founders and this might be as good an opportunity as any to note her great contribution to its success. Of course, it is a shared credit since the show remains the work of a team that settled down over the years to its current crew. But Mrs Madhoo Nascimento, through her considerable role in this production, as indeed in The Theatre Company, has carved her name in Guyanese theatre history. That role is deserving of the highest commendation.