Bremner Sings How to Pack A Revolution in YOur suitcase
Songs of hope and rebellion
What do you pack when you run? What can you use to fight evil? Art & music & songs! In 1920s Germany, creativity flourished in the wild, sexy artistic world of Berlin, while Hitler called artists “incompetents, cheats & madmen.” Artists had to flee, but they carried their culture around the world and continued to fight. Bremner sings of hope & rebellion and tells the story of how art must win against evil.
If you’ve been following my work for any time, you know that I’m obsessed with the music of the 1920’s and 1930’s. So much of that music came out of social struggles and revolutionary ideas. And so many of those song writers and artists were forced to pack their bags and flee, carrying those ideas with them. And those ideas and songs and artistic movements went on to change the world!
In this show I sing a hit list of incredible and entertaining masterworks from some extraordinary Weimar Composers: from Weill and Brecht to Hollaender and Spoliansky and Eisler.
I believe we are still living in revolutionary times. An age of people around the world fleeing violence and economic and climate disasters, and the looming threat of new authoritarian regimes. These songs and ideas are just as powerful in the modern day, and teach us about being human, about social justice and about the possibilities for change and resistance.
"Fletcher’s vocal and acting chops are both incredibly impressive, covering everything from a crass comedy routine to mournful songs of loss and desperation. The result is an entire variety show of undeniable entertainment."
- Vue Magazine, Canada
" And my god, does he ever sing. Bremner's performance is jaw-dropping-my jaw literally dropped"
- View Magazine, Canada
"Bremner Fletcher has.... a voice of power and inner beauty that commands the whole space..... One feels like being seduced by the sheer power and beauty of this performance"
- Musical Stages Magazine, UK
"The power of Fletcher's voice keeps the audience glued to his performance with applause after applause as each song is laid to rest. Singing in multiple languages and executing them to convey the emotion to the audience, not the actual words, shows artistic and masterful craftsmanship."
- Plank Magazine, Canada
REVIEWS:
“ Don't miss this inspiring show…. Bremner is back in full force, mixing heart with brains, raw talent with time crafted skill. His deep appreciation for the classic cabaret material is clear and infectious. Far from beyond merely sharing catchy tunes, Bremner shines a light on the revolutionary spirit at their core. A healthy dose of hope for troubled times”
David Whitely, Ottawa Theatre Festival
“Through the music of the 1920/30/s Berlin, Bremner tells a haunting tale of artists crying out to be heard in the face of impending doom. The parallels to our time make the work particularly important. His love and respect for the music is evident throughout and it's the very thing that pulls the audience in.”
Frank Blocker, Ottawa Theatre Festival
“Extraordinary” - Winnipeg Sun
FIVE STARS! “The songs are beautifully delivered with power and emotion, set to a hauntingly sparse piano accompaniment. At times we are magically transported to 1930’s Berlin” -Edinburgh Fringe Review Magazine
FIVE STARS! “Songs are beautifully delivered with power and emotion” -Broadway Baby
FIVE STARS - “A true master of his craft... seamless blend of gripping entertainment and genuinely moving art” -Edinburgh Fringe Review.
“A baritone with operatic scope: instead of interludes, the songs become weapons” -See Magazine.
"My god, does he ever sing. Bremner's performance is jaw-dropping-my jaw literally dropped" -View Magazine
"When he sings, his voice is like a big, dark, sultry room --full of emotive and expressive possibilities. Even when Bremner sings in languages other than English, the passion and subtext come startlingly alive." -- The Georgia Straight, Vancouver
“The George Ignatieff Theatre is one of those cold energy sinks dreaded by performers, yet Bremner manages fill that whole negatively charged space for an hour, turning an institutional theater into a Weimar cabaret” - Eye Magazine