Cabaret with Deian McBryde!

Deian McBryde is a ladies' man. We mean, a self-confident, approachable man women enjoy being around. Guys like him, too. What is it about Deian that speaks to us? Charisma. The man’s got charm for days. So much charm (and guts and talent) that he’s parlayed his skills into an international singing career. A self-proclaimed, “Sonic Smoothie,” Deian has entertained in the US, Canada, Europe, Russia and Australia as a solo artist and with his little jazz band, The Pretty Girl Orchestra. Now Deian honors us by offering a brand new class at New Mexico Jazz Workshop. If you’ve ever wanted to sing loud and proud, then consider taking Deian’s NMJW class, Cabaret! which starts Monday, March 22 at 6:30pm. We caught up with Deian to talk about the class, about the art of cabaret, and singin’ to the cheap seats.

NMJW: So, what draws you to cabaret? What about this performance style attracts you?

DMc: I'm really drawn to narrative and interpretation. Cabaret is a unique form because, unlike musical theatre, the stories are very personal -- even if you are in "character." This isn't about you acting like anyone other than being more fully yourself, and offering your wisdom and vulnerabilities to the audience. When a cabaret artist is really present to what's happening (something I call, "Being in The Room") people pay attention. Maybe it helps them make sense of the world, in the case of very political cabaret, or maybe it helps them feel the empathy of someone sharing their experience. In cabaret, the drama and the humor are personal and practical to the human experience. I've done a lot of singing from concerts to nightclubs -- the times I've made them laugh hardest and cry deepest have all been in a cabaret.

NMJW: Who are some of your influences, and why?

DMc: It's not completely true but I generally "quote" my mother who "said," "Sing so the people in the cheap seats can hear you!" That's actually not at all true; she never said that and I just made it up. But, true story, when I was a kid and wanted to be one of the Carol Burnett Dancers, she said, "Well, they're not picking people from Mars for those jobs; it's just people like you me." That bit of advice has given me WAY more courage than my talent justifies. Creatively, I'm inspired by the cabaret legend, Julie Wilson, who rode the subway with me one day and said, "I never let anyone tell me how to sing my songs -- that's my only job."

NMJW: Tell us about the experiences with this art form?

DMc: I performed in cabarets in New York for a number of years. Eighty-Eights, The Duplex, Don't Tell Mama... a lot of them. I actually got "medium popular" on the scene but there was always a disconnect between me and the cabaret community in New York because I just wanted to "do my job" as Julie said. So, I did them alone with just a pianist. I didn't hire musical directors, acting coaches, choreographers and a fleet of people eager to take my limited cash -- that always just felt WAY to dilettante for me. But, things did take off when I took my 2nd trip to Australia to perform in the Melbourne Fringe Festival. I created a character (students will hear ALL about that!) and did a nightclub act based on this other life. To everyone's surprise (meaning, me) we won the Melbourne Fringe Festival Prize for Musical Direction that year... and the year after that, too! I ended up performing sold-out rooms in Melbourne and Adelaide, and slightly smaller houses in Sydney for which I am still NOT bitter. I learned from this series to never underestimate the power of a good story to move people deeply and profoundly, with grace and humor. I also sang a cabaret in the middle of a Russian Rave party in St. Petersburg a few years ago -- the kids all stopped everything to watch, listen and cheer. That taught me that a good story lives in your bones, not always in your words.

NMJW: How do you apply cabaret to "modern" music? What are some "modern" examples of the style?

DMc: Well... I dunno. I think cabaret requires a point, a purpose of some sort. I don't agree that it's a night of show tunes strung together with stories about the good old days. But I also don't think it's anything you do in a small room with a two-drink minimum. There are a lot of people doing interesting stuff, especially overseas in Australia. I don't know why but they're just funnier and less self-absorbed about it. I like a cabaret that moves me around through emotions. Too much sweet music is like too much candy on Halloween. So, New York cabaret doesn't inspire me anymore, not at the moment. I want to see funny, bawdy, poignant and beautiful work -- not just hear beautiful singing. In fact, I think that's one thing that makes cabaret AMAZING -- you don't have to be the world's best soprano or loudest tenor to have an impact in cabaret. You just have to have something to say.

NMJW: What can people expect to experience in your class?

DMc: We'll have a mix of singing and non-singing activities. I won't be critiquing the singing (much!). Mostly, I'm interested in helping people draw out their stories and tell them in compelling ways. I'm eager to help them tap into their own charisma and sense of stagecraft to make it happen within the length of a song. I think we'll be pushing some boundaries and creativity buttons (but all safely) and I think we're going to have a lot of fun!

NMJW: (Anything you want to say about the class, the style the work??)

DMc: Please only sign up if you want to work, learn, take risks, grow and transform your life. How's that for subtle?

NMJW: Thanks, Deian!

DMc: Thank you, Marya!

Cabaret! Instructor: Deian McBryde Mondays, starting March 22 through April 26th $90 General $75 NMJW members (and APS teachers) For more information check our website:

www.nmjazz.org