"Life is not a picnic"
(Official production of " Welt ")
PLAYING WITH THE AUDIENCE :
The encounter's alchemy shapes on stage, as David performs inviting companies, chorales, artists, country's craftsmen, but also cooks (meals are made live for the audience)...
The shows are adapted according to the stage's shape, depending on the places, the rooms and the spaces where it takes place.
In fact, it is a big organized mess. The show is invaded by the movement, the rhythm and the Unpredicted, in a big artistic labor that takes place in front of our eyes.
With humor, David Bursztein takes us for a trip.
He takes us by the hand to the Shtetl street, where some ghosts from other times are discussing in Yiddish songs.
Accompanied by a quintet, David Bursztein transmits and shares with us and his audience his own relation to Judaism.
The universality of this culture staged like this, addresses all generations, all audiences, whatever their origins or classes.
With a lot of "pilpoul", of discussions and of never-ending questioning, Welt introduces a real anthem to the nuance.
We smile, we discover, we identify, we become attached to these dybbuks who moved from generation to generation, like travelling spirits, to invite themselves on stage, among us.
“Life is not a picnic” is a production “company”, but also, and above all, a cosmopolitan and polyglot big brassy, salty, and salsy-colored band.
“Life is not a picnic” is the story of a mix.
Coming from the jazz, the Neapolitan and the Afro-Cuban music, or even from the musical, this troup of musicians carries around its offbeat lyrics, between Latin-American rhythms, American classics, chromed jazz, mambo, salsa, or gypsy flights.
The songs flow one after the other in a kind of uncommon Esperanto where all the languages merge together: French, English, Italian, Yiddish, Spanish…
We find a bit of everything in “Life is not a picnic”‘s timeless repertoire: voice, trumpets, sax, mandolin, trombone, guitar, piano, double bass, drums…
David Burstein’s theatrical past led him to the conclusion that a song works like an actor.
He is a character in need of a setting, of partners (musicians, choristers, dancers, actors) and obviously, of an audience.
When writing his first lyrics, he thinks of a musical universe for each song, a mix of musical styles.
Each song is thus a painting, an invitation to travel, where a character takes part. Life is not a picnic takes possession of the place of the concert.