Thursday, October 27, 2011
Friday, October 21, 2011
Upcoming - this was a summer of remarkable beginnings, and they continue to move me forward. '33 was the most challenging show that I've ever created, and it took all of my energy. That seems to have been rewarded in being accepted by the Jury at the New Orleans Theatre Festival (so I'm currently heading slowly down towards NoLa to perform the show for a Southern audience). And the Gladstone Theatre in Ottawa will be doing a three week run of the show in February and March. I'm considering if I should take it over to the Edinburgh or Brighton Festival next summer to shop it around in the UK.
Other beginnings - well, I'll be going into the studio in New Orleans to record the vocal tracks for the CD based around '33. Tentatively titled ‘Closing Night - Songs of resistance and revolution from the dying days of the Weimar Republic'.
I'm currently working on a collaboration with the lovely and irrepressible Melanie Gall, on an imagined concert of Jaques Brel and Edith Piaf. I think it'll be more or less us amusing ourselves (and hopefully audiences) with some of the greatest songs ever written.
The wonderful English performance poet Jem Rolls has been kicking some ideas around for exploring the period of 1918-28 in revolutionary Russia - the so called Russian Spring - when ideas and creativity exploded, before being crushed by Stalin.
And, of course, there is a new show to write. Hoping to push myself even further after '33. This time I'm curious about the other side of the Atlantic. I'm listening to a swath of music from the late 1920's and 30's in the US of A. I'm fascinated by the last vestiges of Vaudeville and the final heydays of the travelling Circus. And I'm curious about the crushing of the radical left in America, and how that destruction might have been one of the causes of the current monolithic 'one party' state that exists.
Nothing written yet - just a bunch of themes that fascinate - we'll see where they take me
Other beginnings - well, I'll be going into the studio in New Orleans to record the vocal tracks for the CD based around '33. Tentatively titled ‘Closing Night - Songs of resistance and revolution from the dying days of the Weimar Republic'.
I'm currently working on a collaboration with the lovely and irrepressible Melanie Gall, on an imagined concert of Jaques Brel and Edith Piaf. I think it'll be more or less us amusing ourselves (and hopefully audiences) with some of the greatest songs ever written.
The wonderful English performance poet Jem Rolls has been kicking some ideas around for exploring the period of 1918-28 in revolutionary Russia - the so called Russian Spring - when ideas and creativity exploded, before being crushed by Stalin.
And, of course, there is a new show to write. Hoping to push myself even further after '33. This time I'm curious about the other side of the Atlantic. I'm listening to a swath of music from the late 1920's and 30's in the US of A. I'm fascinated by the last vestiges of Vaudeville and the final heydays of the travelling Circus. And I'm curious about the crushing of the radical left in America, and how that destruction might have been one of the causes of the current monolithic 'one party' state that exists.
Nothing written yet - just a bunch of themes that fascinate - we'll see where they take me
SUMMER 2011... ON THE ROAD
Orlando, Montreal, London, Regina, Winnipeg, Saskatoon, Edmonton, Victoria, Vancouver. Have I left anything out there? No. Nine festivals, three shows (including my part in Rupert Wates wonderful musical revue). Almost six months on the road.
The new cabaret piece - '33, (a kabarett) was a challenge to perform. My pitch line finally for it distilled down to 'Imagine Stephen Harper orders the Homeland Security forces to shoot the cast of Glee through the back of the head. Well, my job is to come on stage, clear up the bodies and sing songs about them.' Only, of course, this event is set (more or less) in 1933 and it really did happen that way.
I was delighted with the response. It was a challenge to mount such a dark show at the Fringe, where comedy kills, and I was inspired by the audiences who came along for the ride.
It wasn't an easy ride - I played to crowds of 3 and 4 at the Montreal Fringe, and at each festival I would enter with small crowds and then watch it slowly build. But at the last festival, the show sold out most of it's performances in a huge venue at the Edmonton Fringe. It was honestly humbling to perform the work for all these people.
'33 was inspired by a single song. 'Unsrer Shtetle Brent', by Mordecai Geburtig. The song was written to commemorate the destruction of a village in Poland. Mordecai Geburtig was killed several years later when he refused to leave his village. He wrote that he wanted that song to become a song of universal resistance to oppression and injustice, not just a song about that particular incident. When I wrote the show I thought about what my 'village' was, and the stage and the people on it came to the fore. So the show is about a man mourning his friends fate and determining to carry on regardless.
I also remounted my old show 'Whiskey Bars', a show built around the songs of Kurt Weill, and took that to three festivals.
I've been playing that show for almost 10 years now in various forms and it was great to see how well it works. We sold out 8 shows in a row at the Winnipeg Festival, and got a 'Best of Fest' award there, and again at the Victoria Festival.
I think though that this might be it's last time out in this format. It's time to shake it up. So I think it's next emergence into the world will involve a reworking and rethinking of the show.
The rethink is partly inspired by a vast screw up on my part. On opening night in Vancouver, with a sold out show, and with 15 minutes to go before the show, I realized I had forgotten my costume (formal tuxedo with tailcoat). And the show is basically built around me getting dressing into said Tuxedo. I freaked out and while I was running around panicking a good friend rushed into the performers green room and asked if anyone had any kind of formal wear.
A wonderful Australian performer (who goes by the name of The Birdmann) handed over his ancient tux coat and the skinny black jeans he wears on stage. They made it to me with enough time to be laid out on stage before the audience arrived. So I went on stage with a costume that I had never tried on. And that might have been one of the best shows of the summer. The ancient threadbare costume inspired comments afterwards from patrons who read a whole story into their quality and my 'inspired choice' in wearing that outfit....
The new cabaret piece - '33, (a kabarett) was a challenge to perform. My pitch line finally for it distilled down to 'Imagine Stephen Harper orders the Homeland Security forces to shoot the cast of Glee through the back of the head. Well, my job is to come on stage, clear up the bodies and sing songs about them.' Only, of course, this event is set (more or less) in 1933 and it really did happen that way.
I was delighted with the response. It was a challenge to mount such a dark show at the Fringe, where comedy kills, and I was inspired by the audiences who came along for the ride.
It wasn't an easy ride - I played to crowds of 3 and 4 at the Montreal Fringe, and at each festival I would enter with small crowds and then watch it slowly build. But at the last festival, the show sold out most of it's performances in a huge venue at the Edmonton Fringe. It was honestly humbling to perform the work for all these people.
'33 was inspired by a single song. 'Unsrer Shtetle Brent', by Mordecai Geburtig. The song was written to commemorate the destruction of a village in Poland. Mordecai Geburtig was killed several years later when he refused to leave his village. He wrote that he wanted that song to become a song of universal resistance to oppression and injustice, not just a song about that particular incident. When I wrote the show I thought about what my 'village' was, and the stage and the people on it came to the fore. So the show is about a man mourning his friends fate and determining to carry on regardless.
I also remounted my old show 'Whiskey Bars', a show built around the songs of Kurt Weill, and took that to three festivals.
I've been playing that show for almost 10 years now in various forms and it was great to see how well it works. We sold out 8 shows in a row at the Winnipeg Festival, and got a 'Best of Fest' award there, and again at the Victoria Festival.
I think though that this might be it's last time out in this format. It's time to shake it up. So I think it's next emergence into the world will involve a reworking and rethinking of the show.
The rethink is partly inspired by a vast screw up on my part. On opening night in Vancouver, with a sold out show, and with 15 minutes to go before the show, I realized I had forgotten my costume (formal tuxedo with tailcoat). And the show is basically built around me getting dressing into said Tuxedo. I freaked out and while I was running around panicking a good friend rushed into the performers green room and asked if anyone had any kind of formal wear.
A wonderful Australian performer (who goes by the name of The Birdmann) handed over his ancient tux coat and the skinny black jeans he wears on stage. They made it to me with enough time to be laid out on stage before the audience arrived. So I went on stage with a costume that I had never tried on. And that might have been one of the best shows of the summer. The ancient threadbare costume inspired comments afterwards from patrons who read a whole story into their quality and my 'inspired choice' in wearing that outfit....
Sunday, June 19, 2011
London bound
Great run in Montreal. Fabulous to be back in the city after so many years. Maybe it's time to go back for a longer trip!
We didn't get any mainstream press, but some reviews from the web on the show
FIVE STARS
"This is the best show I've seen so far. Crosses the line between touching and gut wrenching. The character is beautifully developed. Compelling performance that speaks to darker themes without losing it's sparkle. A must see for Brecht lovers or anyone with an interest in the political history of theatre.
A touching love song to a bygone era"
AND
FOUR STARS
"A must-see! This show combines music, nostalgia, tragedy, comedy, and cross-dressing into a one-of-a-kind experience."
AND
FIVE STARS
"Absolutely wonderful. (And I can be a hard sell on cabaret!) Loved the dark melancholy mood, and the political parallels arguing what it means to be an artist in uncertain times. HIGHLY recommended!"
We didn't get any mainstream press, but some reviews from the web on the show
FIVE STARS
"This is the best show I've seen so far. Crosses the line between touching and gut wrenching. The character is beautifully developed. Compelling performance that speaks to darker themes without losing it's sparkle. A must see for Brecht lovers or anyone with an interest in the political history of theatre.
A touching love song to a bygone era"
AND
FOUR STARS
"A must-see! This show combines music, nostalgia, tragedy, comedy, and cross-dressing into a one-of-a-kind experience."
AND
FIVE STARS
"Absolutely wonderful. (And I can be a hard sell on cabaret!) Loved the dark melancholy mood, and the political parallels arguing what it means to be an artist in uncertain times. HIGHLY recommended!"
Wednesday, June 15, 2011
Going Dark
Driving North, heading up to Montreal Fringe Festival from the Orlando Fringe Festival. Spent today walking through the appropriately atmospheric streets of Savannah thinking about my new cabaret show.
My blurb for the show is
it's a dark little show.... very, very dark.... a stage full of corpses and some songs to sing....
And until 10 days ago I wasn't really sure that it added up to anything. I knew I wanted to work on this period and work on these songs. And I believe that the songs gain a special strength and power when they are put in context of their time. I'd spent months researching, getting the costume together, the music. I recruited my friends to help out. Roxanna Bikadoroff did an amazing poster.
I traveled to Ottawa to work with Dave Dawson on the direction.... but it all just seemed like a strange idea that I had.
Now, after a series of shows in Orlando, it seems to actually be something. The Orlando Sentinel called it 'A gem of a show... a cabaret of shadows', and orlandotheatre.com said 'Duthie, with his shaved head, haunted face and gorgeously delicate baritone, is utterly arresting as the vanquished impresario of a ruined cabaret…Duthie’s singing is magical.'
After touring Whiskey Bars for years (a show which I'll be doing for the first time in Vancouver and Victoria this summer) I knew that songs can gain a special power if put in context of their time.
And over those years I've become fascinated and also very frustrated by Cabaret. Mostly because the word is almost meaningless now.... Cabaret once meant a very special performance space and style - a space where the performer was in close, almost uncomfortable intimacy with the audience, and a satirical, almost aggressive style that questioned both the morals of the day, and the motives of the audience. Nowadays Cabaret can mean so many things - long-legged girls with pasties and feathers, faded old Broadway singers rehashing their lives beside pianos, a jumble of disconnected skits by eager young thespians, an evening of Rodgers and Hart. All of which have their good and bad side, and none of which particularly interest me.
I wanted to do a concert of songs that would capture the rebellion and questioning and unadulterated fear that permeated that period.
I particularly wanted to do that right now because in the US and Canada there is a new repression making its way over the Arts. It might not be the unashamed brutality of Hitler's rise to power in 1933, but it's a brutality of conservatism and rationalism, where the Arts are asked to justify themselves on whether or not they are 'profitable' and 'express community values'. Since the only possible answer to these is a resounding 'no', then this justifies cutting and slashing and repressing. In the US there is the stupidity and anger of the Tea Party, seeking to 'defund' any hint of artistic expression that doesn't match their conservative Christian values or that isn't based on a strict profit motive, and in Canada a new right wing in charge is seeking to personally green light only the arts funding which they personally approve.
There's an infamous line about the pre-war period of anti-war art which goes something like
'you can observe the incredible success and power of avant-garde theatre and cabaret from the way they stopped the rise of fascism in Germany'.
That is, they failed, big time.
but they left a precious legacy of rebellion... so does that mean it was a mistake to try?
next shows in Montreal Fringe Festival,
then on to London, Ontario, and Regina, Saskatchewan
My blurb for the show is
"Get out! Raus! Casse-toi! Vous êtes trop tard. Too late. The Cabaret is finished. Forever!"
Trapped in the ruins of a Cabaret theatre, the Master of Ceremonies is trying to make his escape. First they censored him. Then they beat and dragged away his cast. Soon the theatre will vanish in flames. But tonight a final group of thrill-seekers has wandered in the open door, looking for a spectacle. Alone on stage, the MC must improvise one last show. So tonight he will play all the parts - singer, dancer, stagehand, showgirl, funnyman - and sing his heart out with some of the greatest songs ever written.
it's a dark little show.... very, very dark.... a stage full of corpses and some songs to sing....
And until 10 days ago I wasn't really sure that it added up to anything. I knew I wanted to work on this period and work on these songs. And I believe that the songs gain a special strength and power when they are put in context of their time. I'd spent months researching, getting the costume together, the music. I recruited my friends to help out. Roxanna Bikadoroff did an amazing poster.
I traveled to Ottawa to work with Dave Dawson on the direction.... but it all just seemed like a strange idea that I had.
Now, after a series of shows in Orlando, it seems to actually be something. The Orlando Sentinel called it 'A gem of a show... a cabaret of shadows', and orlandotheatre.com said 'Duthie, with his shaved head, haunted face and gorgeously delicate baritone, is utterly arresting as the vanquished impresario of a ruined cabaret…Duthie’s singing is magical.'
After touring Whiskey Bars for years (a show which I'll be doing for the first time in Vancouver and Victoria this summer) I knew that songs can gain a special power if put in context of their time.
And over those years I've become fascinated and also very frustrated by Cabaret. Mostly because the word is almost meaningless now.... Cabaret once meant a very special performance space and style - a space where the performer was in close, almost uncomfortable intimacy with the audience, and a satirical, almost aggressive style that questioned both the morals of the day, and the motives of the audience. Nowadays Cabaret can mean so many things - long-legged girls with pasties and feathers, faded old Broadway singers rehashing their lives beside pianos, a jumble of disconnected skits by eager young thespians, an evening of Rodgers and Hart. All of which have their good and bad side, and none of which particularly interest me.
I wanted to do a concert of songs that would capture the rebellion and questioning and unadulterated fear that permeated that period.
I particularly wanted to do that right now because in the US and Canada there is a new repression making its way over the Arts. It might not be the unashamed brutality of Hitler's rise to power in 1933, but it's a brutality of conservatism and rationalism, where the Arts are asked to justify themselves on whether or not they are 'profitable' and 'express community values'. Since the only possible answer to these is a resounding 'no', then this justifies cutting and slashing and repressing. In the US there is the stupidity and anger of the Tea Party, seeking to 'defund' any hint of artistic expression that doesn't match their conservative Christian values or that isn't based on a strict profit motive, and in Canada a new right wing in charge is seeking to personally green light only the arts funding which they personally approve.
There's an infamous line about the pre-war period of anti-war art which goes something like
'you can observe the incredible success and power of avant-garde theatre and cabaret from the way they stopped the rise of fascism in Germany'.
That is, they failed, big time.
but they left a precious legacy of rebellion... so does that mean it was a mistake to try?
next shows in Montreal Fringe Festival,
Horaire / Schedule
- 11 Jun @ 20.0012 Jun @ 15.1514 Jun @ 23.4516 Jun @ 20.0017 Jun @ 23.4518 Jun @ 17.00
then on to London, Ontario, and Regina, Saskatchewan
Friday, June 03, 2011
Tuesday, April 26, 2011
Lucky
Is how I feel.
Starting a new tour in a few weeks. With a new show. And new songs. And I'm nervous. Very. But I shouldn't be. I have the help of wonderfully talented friends. The wise and thoughtful Robert Burns read the early layout in Paris and pushed and pulled the concept till it had some direction. Alex Morrison in Winnipeg gave me another perspective. The wonderful Dave Dawson of Black Sheep Theatre is directing the new piece. Chris Cody did an extraordinary job on the musical accompaniment. Tracy Darin kicked in the choreography and musical staging. Benjamin Lefebvre designed the poignant bowler hatted MC costume. The amazing Roxanna Bikadoroff is designing the Poster and image for the show. And of course Lisa made the whole thing worth doing (and kicked my butt when I almost gave up).
Lucky indeed!
Starting a new tour in a few weeks. With a new show. And new songs. And I'm nervous. Very. But I shouldn't be. I have the help of wonderfully talented friends. The wise and thoughtful Robert Burns read the early layout in Paris and pushed and pulled the concept till it had some direction. Alex Morrison in Winnipeg gave me another perspective. The wonderful Dave Dawson of Black Sheep Theatre is directing the new piece. Chris Cody did an extraordinary job on the musical accompaniment. Tracy Darin kicked in the choreography and musical staging. Benjamin Lefebvre designed the poignant bowler hatted MC costume. The amazing Roxanna Bikadoroff is designing the Poster and image for the show. And of course Lisa made the whole thing worth doing (and kicked my butt when I almost gave up).
Lucky indeed!
Tuesday, January 25, 2011
Burn's Day
On Sunday night we celebrated Burn's night. Haggis and whiskey and all the trimmings.
But today is Robert Burn's birthday, so I thought I'd put up a little tribute of my own - one of his first songs, dedicated to all the ladies of the world.
This comes from years and years ago when I recorded a cassette (that's how long ago it was!) of Scottish songs for my Dad's birthday. God, I sound very wee!
the player should pop up here -
Green Grow the Rushes
or click HERE
Green Grow the Rushes, by Robert Burns
There's nought but care on ev'ry han',
In ev'ry hour that passes, O;
What signifies the life o' man,
An' 'twere na for the lasses, O.
Green grow, etc
Chorus
Green grow the rashes, O;
Green grow the rashes, O;
The sweetest hours that e'er I spend,
Are spent amang the lasses, O.
The warly race may riches chase,
An' riches still may fly them, O;
An' tho' at last they catch them fast,
Their hearts can ne'er enjoy them, O.
Green grow, etc
But gie me a canny hour at e'en,
My arms about my Dearie, O;
An' warly cares an' warly men,
May a' gae tapsalteerie, O!
Green grow, etc
For you sae douse, ye sneer at this,
Ye're nought but senseless asses, O;
The wisest Man the warl' saw,
He dearly lov'd the lasses, O.
Green grow, etc
Auld Nature swears, the lovely Dears
Her noblest work she classes, O;
Her prentice han' she try'd on man,
An' then she made the lasses, O.
Green grow, etc
But today is Robert Burn's birthday, so I thought I'd put up a little tribute of my own - one of his first songs, dedicated to all the ladies of the world.
This comes from years and years ago when I recorded a cassette (that's how long ago it was!) of Scottish songs for my Dad's birthday. God, I sound very wee!
the player should pop up here -
Green Grow the Rushes
or click HERE
Green Grow the Rushes, by Robert Burns
There's nought but care on ev'ry han',
In ev'ry hour that passes, O;
What signifies the life o' man,
An' 'twere na for the lasses, O.
Green grow, etc
Chorus
Green grow the rashes, O;
Green grow the rashes, O;
The sweetest hours that e'er I spend,
Are spent amang the lasses, O.
The warly race may riches chase,
An' riches still may fly them, O;
An' tho' at last they catch them fast,
Their hearts can ne'er enjoy them, O.
Green grow, etc
But gie me a canny hour at e'en,
My arms about my Dearie, O;
An' warly cares an' warly men,
May a' gae tapsalteerie, O!
Green grow, etc
For you sae douse, ye sneer at this,
Ye're nought but senseless asses, O;
The wisest Man the warl' saw,
He dearly lov'd the lasses, O.
Green grow, etc
Auld Nature swears, the lovely Dears
Her noblest work she classes, O;
Her prentice han' she try'd on man,
An' then she made the lasses, O.
Green grow, etc
Tuesday, November 16, 2010
Back in Paris, back to the web
Well, I'm back in Pareee. It feels great to be home after almost (no, wait, actually more than...) 6 months on the road. Such a pleasure to cook my own food and be surrounded by 'my stuff' and my music and my walls. The dog is snoring on the floor and all feels right with the world. And I'll be doing most of my blogging over on my site www.parislovesjazz.com.
I haven't been updating it for a while, but now that I'm back in the city of lights I figure it's time to hit the keyboard again. It's brought me some great friends and contacts and managed to work its way up to the top of Google's search engine listings for jazz in Paris. Not sure what that means - but it's kind of cool...
So drop by www.parislovesjazz.com and you'll probably get a good idea of where I've been this week, or my plans for the weekend - and if you're in town, then please join me
cheers
Bremner
I haven't been updating it for a while, but now that I'm back in the city of lights I figure it's time to hit the keyboard again. It's brought me some great friends and contacts and managed to work its way up to the top of Google's search engine listings for jazz in Paris. Not sure what that means - but it's kind of cool...
So drop by www.parislovesjazz.com and you'll probably get a good idea of where I've been this week, or my plans for the weekend - and if you're in town, then please join me
cheers
Bremner
Sunday, July 18, 2010
Winnipeg
I'm not reading reviews this summer.
God, that feels terribly decadent and pleasurable to be able to say that. It's an incredibly self-indulgent pleasure to just perform for the audiences, and do the show, and not pay any attention to the reviewers. I got kind of obsessed in the last fringe tour I did - with Whiskey Bars, and the reviews - either good or bad - and god knows I had a lot of both - really started to affect the way I performed and my pleasure in the work, so this summer, I figured I'd just get up there and sing and let the audience tell me whether the show was good or bad...
But Lisa is keeping track for the files - and a thoughtful one came up, and they liked it, so I'll post the link here - I haven't read it, but apparently it gives a good idea of the show, and god knows I'm crap at describing my own work.... so here goes
http://www.cbc.ca/manitoba/features/fringefestival/2010/06/the-pig-of-happiness.html
cheers
Brem
God, that feels terribly decadent and pleasurable to be able to say that. It's an incredibly self-indulgent pleasure to just perform for the audiences, and do the show, and not pay any attention to the reviewers. I got kind of obsessed in the last fringe tour I did - with Whiskey Bars, and the reviews - either good or bad - and god knows I had a lot of both - really started to affect the way I performed and my pleasure in the work, so this summer, I figured I'd just get up there and sing and let the audience tell me whether the show was good or bad...
But Lisa is keeping track for the files - and a thoughtful one came up, and they liked it, so I'll post the link here - I haven't read it, but apparently it gives a good idea of the show, and god knows I'm crap at describing my own work.... so here goes
http://www.cbc.ca/manitoba/features/fringefestival/2010/06/the-pig-of-happiness.html
cheers
Brem
Sunday, June 20, 2010
Pigs first night out
well, that was stressful – and fun!
the first show in ottawa of a new text with new music and new instruments in a byov where I’m running the sound and costume changes and musical accompaniment…. ack…
it went fairly well…. no, honestly, I have no idea how it went. Everyone stayed for the whole show (always a good sign!), and at the end they seemed happy. But I have no perspective. I’ve had my head inside this show for a long rehearsal process, and I’m still not sure what I’ve come up with. A story, within a story, within a story… and a character that is the actor that is the character and a set of wildly cheerful happy songs presented in a way that veers between the maniacally delighted and the deeply tragic.
For now I’ll rest on my laurels… the show is up and running. There’s a whole whack of details and storylines that I now see need to be polished and tightened, but I’ll leave that for tomorrow, when I can see straight.
the first show in ottawa of a new text with new music and new instruments in a byov where I’m running the sound and costume changes and musical accompaniment…. ack…
it went fairly well…. no, honestly, I have no idea how it went. Everyone stayed for the whole show (always a good sign!), and at the end they seemed happy. But I have no perspective. I’ve had my head inside this show for a long rehearsal process, and I’m still not sure what I’ve come up with. A story, within a story, within a story… and a character that is the actor that is the character and a set of wildly cheerful happy songs presented in a way that veers between the maniacally delighted and the deeply tragic.
For now I’ll rest on my laurels… the show is up and running. There’s a whole whack of details and storylines that I now see need to be polished and tightened, but I’ll leave that for tomorrow, when I can see straight.
Monday, June 07, 2010
In a dark room with a lot of words and music
The last weeks are always like this …. though I swear every time that I will have the piece done and ready a month before, I end up in a dark room in the days before the opening with a lot of words and music trying to put them all together in the way that I imagined.
The Pig of Happiness is a reworking of a show I tried out last year at the London Fringe – The Barker’s Spiel …. however, extensive marketing research at the fringe revealed the title was impossible to pronounce for the average theatre goer… so changes were made. I thought this would be just a tiny tweak to the text and music, but it ended up being a total reworking of the piece.
So, the studio is full of paper – I work by sticking big sheets of brown paper all over the walls and then when I’m working on the show I can make notes with markers and stick ideas and images. It makes for a flexible way to work, but even I have to admit it sort of looks like I’m a crazy person living in a room, writing on the walls…
The Studio in mid rehearsal
at the moment there’s 12 songs and a ukulele and a concertina and an old casio and some backtracks and a bunch of text and old lights and costumes and a soft shoe shuffle and it all adds up to about an hour and forty five minutes — which is a problem since by the time I open in Ottawa on the 19th I have to have to cut it down to an hour….
it’ll be an interesting two weeks…. I’ll keep you updated on how it goes
you can see more of the work, and videos and listen to music at www.bremnerduthie.com
The Pig of Happiness is a reworking of a show I tried out last year at the London Fringe – The Barker’s Spiel …. however, extensive marketing research at the fringe revealed the title was impossible to pronounce for the average theatre goer… so changes were made. I thought this would be just a tiny tweak to the text and music, but it ended up being a total reworking of the piece.
So, the studio is full of paper – I work by sticking big sheets of brown paper all over the walls and then when I’m working on the show I can make notes with markers and stick ideas and images. It makes for a flexible way to work, but even I have to admit it sort of looks like I’m a crazy person living in a room, writing on the walls…
The Studio in mid rehearsal
at the moment there’s 12 songs and a ukulele and a concertina and an old casio and some backtracks and a bunch of text and old lights and costumes and a soft shoe shuffle and it all adds up to about an hour and forty five minutes — which is a problem since by the time I open in Ottawa on the 19th I have to have to cut it down to an hour….
it’ll be an interesting two weeks…. I’ll keep you updated on how it goes
you can see more of the work, and videos and listen to music at www.bremnerduthie.com
Sunday, May 16, 2010
Summer Plans
I'm on the road again! Well, almost... in June gonna start moving from Toronto to Victoria with a new cabaret show and also a jazz concert.
(and between you and me - both of the shows adapt to impromptu spaces like living rooms and gallery spaces and church basements ... so if you'd like me to detour over to your community or home or neighbourhood, just give me a shout and I'd love to head over and use it as a chance to meet up)
The Pig of Happiness is a cabaret about.... well, about being a pig for happiness...
here's the blurb - ‘To live is so startling it leaves little time for anything else.’ Elevate your spirit, kick-start your karma and become one with the Pig. A new show from cabaret singer Bremner Duthie. From Weill to Nirvana to Britney to Brel to Tom Waits. From a howl to a lullaby. “Seedy. Stirring. Utterly memorable. – Andrew Clover, Sunday Times, UK
And the Sky Was Blue is a new album of standards and re-imagined pop songs.
I like to say it's like a big old brass bed – a well pounded mattress of bouncy old jazz springs, a colourful quilt of pop twang, and a huge fluffy feather pillow of Sixties soul.
more information on both of them at www.bremnerduthie.com
Some of the shows I'm doing this summer are still fixing dates and times, but here's a short list below.
I'll be in Ontario, Quebec, Manitoba, Saskatchewan, B.C.
Ottawa, Ontario
Ottawa Fringe Festival - June 21 - 28
Laurier Royal Oak Pub
The Pig of Happiness,a cabaret
Wakefield, Quebec
Piggyback Festival - June 25 - 27th
'The Pig of Happiness', a cabaret
Swift Current, Saskatchewan
Chautauqua Festival - June 9 + 10
'Whiskey Bars'a kabarett with the songs of Kurt Weill
Toronto, Ontario
Annex Live Restaurant Cabaret, July 13th
Speak Low, the songs of Kurt Weill
Winnipeg, Manitoba
Winnipeg Fringe Festival - July 14 - 25
The Pig of Happiness, a cabaret
Winnipeg Manitoba
Centre Culturel Francopho Manitobann
Mardi-Jazz - July 20th, 2010, 8:30pm
Winnipeg, Manitoba
Mcnally-Robinson Bookstore July 24th
Saturday night Jazz at Prairie Inc.
Saskatoon, Saskatchewan
Saskatoon Fringe Festival July 29 - Aug 7
The Pig of Happiness, a cabaret
Gabriola Island, British Columbia
Gabriola Theatre Festival, August 22nd
Whiskey Bars, a kabarett with the songs of Kurt Weill
Vancouver, British Columbia
Vancouver International Fringe Festival - Sep 9 - 19th
The Pig of Happiness, a cabaret
(and between you and me - both of the shows adapt to impromptu spaces like living rooms and gallery spaces and church basements ... so if you'd like me to detour over to your community or home or neighbourhood, just give me a shout and I'd love to head over and use it as a chance to meet up)
The Pig of Happiness is a cabaret about.... well, about being a pig for happiness...
here's the blurb - ‘To live is so startling it leaves little time for anything else.’ Elevate your spirit, kick-start your karma and become one with the Pig. A new show from cabaret singer Bremner Duthie. From Weill to Nirvana to Britney to Brel to Tom Waits. From a howl to a lullaby. “Seedy. Stirring. Utterly memorable. – Andrew Clover, Sunday Times, UK
And the Sky Was Blue is a new album of standards and re-imagined pop songs.
I like to say it's like a big old brass bed – a well pounded mattress of bouncy old jazz springs, a colourful quilt of pop twang, and a huge fluffy feather pillow of Sixties soul.
more information on both of them at www.bremnerduthie.com
Some of the shows I'm doing this summer are still fixing dates and times, but here's a short list below.
I'll be in Ontario, Quebec, Manitoba, Saskatchewan, B.C.
Ottawa, Ontario
Ottawa Fringe Festival - June 21 - 28
Laurier Royal Oak Pub
The Pig of Happiness,a cabaret
Wakefield, Quebec
Piggyback Festival - June 25 - 27th
'The Pig of Happiness', a cabaret
Swift Current, Saskatchewan
Chautauqua Festival - June 9 + 10
'Whiskey Bars'a kabarett with the songs of Kurt Weill
Toronto, Ontario
Annex Live Restaurant Cabaret, July 13th
Speak Low, the songs of Kurt Weill
Winnipeg, Manitoba
Winnipeg Fringe Festival - July 14 - 25
The Pig of Happiness, a cabaret
Winnipeg Manitoba
Centre Culturel Francopho Manitobann
Mardi-Jazz - July 20th, 2010, 8:30pm
Winnipeg, Manitoba
Mcnally-Robinson Bookstore July 24th
Saturday night Jazz at Prairie Inc.
Saskatoon, Saskatchewan
Saskatoon Fringe Festival July 29 - Aug 7
The Pig of Happiness, a cabaret
Gabriola Island, British Columbia
Gabriola Theatre Festival, August 22nd
Whiskey Bars, a kabarett with the songs of Kurt Weill
Vancouver, British Columbia
Vancouver International Fringe Festival - Sep 9 - 19th
The Pig of Happiness, a cabaret
Tuesday, April 20, 2010
All new Weill
Spent the last months reading the collected letters of Lotte Lenya and Kurt Weill, a couple of Weill biographies and the remarkable biography of Lotte Lenya. Also searched through Weill's complete works to find new material that I want to explore in this upcoming cabaret.
Years ago I created Whiskey Bars because I was frustrated by doing the songs in recital. Well, now I'm creating a cabaret (that resembles a recital) along with the remarkable pianist and singer Neill Kernohan, because I'm frustrated about doing the songs in a theatrical venue. I want to be able to sing these songs and not be in costume, not worry about lights and theatres and sound and just be able to sing.
But I still think the songs deserve (like any great jewel) to be placed into a great setting. So I'm hoping to link them up with stories, anecdotes and reflections about his life and times and the complex relationship he had with Lotte Lenya. Their lives together spanned two world wars and a half dozen countries and some of the most important artistic and political movements of the 20th Century.
We did a first workshop performance this month as a house concert in the welcoming salon of pianist Lawrence Pitchko, we'll do another in May. No theatre, no makeup, no costumes. Just the music and some reflections on the extraordinary life of Kurt Weill.
Tuesday, April 06, 2010
The Bloody Business
It's a broadsword and dagger extravaganza! I'm walking onstage soon with a new production of Macbeth. We're all done up in designer suits and carrying blackberrys and iphones, but also carrying daggers and broadswords. It is a small cast, so we're all playing several roles, and I think (at last count) I die four times (that's not counting the off-stage dispatching of myself as Duncan) The only character I play that makes it through the show alive is the Porter, with his great licentious speeches... A wonderful adaptation by Tommy Taylor of Forward Theatre and fabulous stage fighting choreography by Christian Feliciano.
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