In the early 70’s as the counter cultural movement took to the streets the first wave of artists built shows from scratch. We had no templates to work from. By the early 80’s that was over. Acts arrived at venues derived from the first wave shows of the late 60’s to early 70’s. We felt a tremendous sense of freedom in the beginning. Audiences like artists had no expectations. Still it was at its heart a form of theater and as such there were rules. The basic rule was gather a crowd, hold
them together, turn them into an audience, and if done properly at the end when you passed your hat there would be a fair exchange between artist and audience.
Over the span of almost 40 years I have created about 6 different closing routines. These are the best of the best material, the surefire, knock them dead, take no prisoners, this is the one you’ve been waiting to see routines. Perhaps the wildest most talked about stunt I’ve ever devised was to juggle fire while balancing a chicken on my head.
In the winter of 1986 Will Soto brought a lot of us together in Key West for a festival he’d titled Buskerfest. Talent scouts from Europe and Canada were there; in particular Edmonton’s brilliant festival director Dick Finkel. He imagined our shows not as mere minor additions to a larger show or festival, but instead he imagined our shows as a festival in and of itself. He bet that he could make street theater into a stand alone festival.
With that in mind Dick went about the business of finding out who among the many acts practicing street theater were doing first rate original work. It was this group he believed that he could build a festival from. And with an eye on quality he believed his audience would return the following year. He was right and the Edmonton International Street Performers Festival in Alberta, Canada will present its 28th festival in 2012.
Some of my most cherished experiences have come while performing in Edmonton. In addition to simply performing our shows we also combined our talents and present special productions. Late Night Madness was one, and a late night fire extravaganza another. I had the privilege of writing, directing and performing in some of these larger productions. Some of these audiences numbered in the many thousands. Under such circumstances we were able to test and prove that our material was versatile enough to engage audiences of all types and sizes.
So, this is one small fragment of the whole. Whether on stage in front of audiences that looked something like this or, backstage after a show hanging out with some of the local fans who looked something like this, I can say that working in street theater has turned out to be one of the grand adventures of my life. To all the audiences and to all the artists I’ve shared time with I will always be grateful.
BANKRUPT HEART THE SECOND NOVEL
Mort watched his best act from the
back of the room. To his ear he was trying too hard. He knew how Ry’s mind
worked. He watched his eyes. It wasn’t the lines, it was what he was thinking,
not what he said, what he was feeling, how he worked the room. Mort could hear
the whirling gears inside his best acts mind.
“I think timing is everything,” Ry
was shifting gears, “fundraiser’s are good things, giving a little is good for
you, good for the world, good for these kids we’re putting this event on for,
but I mean, talk about timing, what’s going on with Wall Street? All the lousy
luck, it’s a bad time for newspapers, they’re getting smaller and folks I don’t
know if you’ve noticed but the news it has been getting bigger.” Ry laughs at
his own line of thinking.
Bankrupt Heart Copyright © 2011 by Dana Smith