Suzanne Petri at Davenport’s
Read the review here!
“Book of Mercy” by Carson Grace Becker at Chicago Dramatists Suzanne Petri and Richard Henzel
“Waiting For Lefty” at American Blues Theater Suzanne and Manny Buckley
Thank you for visiting! I’m very excited to share with you my new website. Thanks to the Illinois Arts Council and the Chicago Community Arts Assistance Program and most of all to my wonderful designer, Kevin Buckstiegel!
Upcoming Suzanne Petri Events:
News flash!! Bob Moreen and I will be singing at Katerina's on Saturday, April 13th from 6:30 -9:00pm Doors open at 6 pm. Come for fun, food and music!
It has been an amazing year, all before April! Thank you to all the wonderful people I have working with this year in the Vagina Monologues at the Underground Wonder Bar, The Bernie Sahlins Repertory Co., The Circle Play, Fiorenza’s, The University Club and of course our SOLD OUT show at Davenport’s!
Hope you caught Bob on "Chicago Fire" if not check out nbc.com: "Fireworks" http://www.nbc.com/chicago-fire/video/fireworks/n33955/
He also did a movie and The Onion http://www.theonion.com
and now he's filming a pilot: "Doubt" so hope it goes!
The rest of the year is going to be theatre filled: “Hank Williams: Lost Highway” at American Blues Theater
and “Gambit” at Artemisia Theater
will take me to the end of the year. Now back to “Duo”
and bringing back our Noel Coward show for those of you who missed it and/or want to see it again!!!
Thanks to Howard Reich, and thanks to all of you for your support!
Suzanne Petri brings a fresh eye, and ear, to songs of Noel Coward
HOWARD REICH Arts critic
5:56 p.m. CDT, March 17, 2013
...Suzanne Petri's "A Little Touch of Coward in the Night" will remind audiences of the rewards of seeing a small troupe of performers addressing a single composer's work.
Much more than just a recitation of tunes, this homage to playwright-songwriter Noel Coward – which Petri performed Friday night at Davenport's – amounted to a substantial musical revue. Petri stood at its center, but she shared the stage with superb singer John Eskola, veteran pianist-vocalist Bob Moreen and formidable actor-narrator Robert Breuler (Petri's husband and the evening's director). Together, these artists interchangeably performed solos, duets and trios (only Breuler did not sing), while the evening's script sketched the arc of Coward's career
Though many cabaret singers dabble in music of Coward, Petri and company dug deeply into its meaning and context. Indeed, it would be difficult to imagine many American artists who could get closer to the British tone and style of this work than Petri and friends.
Consider "Mrs. Worthington," Coward's withering indictment of ungifted young performers and their oft-delusional parents. After a bit of spoken background on Coward's youthful introduction to the stage, Petri launched the tune gently. At first, she delivered Coward's put-downs with delicacy, as if hoping to spare the feelings of the clueless stage mother yearning to foist her daughter onto the public.
As Coward's insults acquired additional venom, however, Petri inexorably raised the tone of her rage, viscerally expressing Coward's contempt for the amateur performers in our midst. How satisfying.
"Mad Dogs and Englishmen" turns up wherever Coward is performed, but rarely with the freshness and attitude that Petri, Eskola and Moreen offered. Every word mattered; no phrase was tossed off. In effect, the trio shook the dust off the tune, holding it up for re-interpretation.
Coward may be widely admired for his wit, but he also showed a great deal of heart in love songs, an overlooked point that this show underscored. Eskola's supple tenor was well applied in "Matelot," Petri meanwhile bringing considerable warmth to duet passages. And for all the gutsiness of Petri's work elsewhere in the show, she showed ample vulnerability in "If Love Were All."
Breuler's made more of his role as narrator than most, turning some of his soliloquies into brief character studies. His turns of phrase and physical gestures succinctly portrayed Coward's early 20th century world, no small feat.
But Petri, by nature, emerged as the evening's focal point. The intensity of her performance and the degree of attention she gave every syllable pointed to a cabaret artist of unusual rigor. She may hit a stray note now and then, and she rarely pursues lovely vocal tones (except in the occasional ballad).
Yet for listeners who wish to get underneath the skin of a song – to its center – Petri serves as fearless tour guide. And nowhere more than in the work of Coward.
or by check to SAG-AFTRA, 1 E. Erie, Suite 650, Chicago, IL 60611,
payable to KMRC.
The Kaufherr Members Resource Center is a multipurpose facility available
at no cost to SAG-AFTRA & AEA members. The KMRC supports Chicago’s
professional performers in enhancing their skills and marketing their talent.
Stay tuned for “Duo” news, our next permutation…coming up soon.
ONE IS ONE. TWO IS MATH
A PLAY WITH MUSIC
BOOK & LYRICS BY BILL C. THOMAS
MUSIC BY ELIZABETH DOYLE
PRODUCED & DIRECTED BY BOB BREULER
PRODUCER: SUZANNE PETRI www.duothemusical.com
“100th Anniversary Garland" of Poetry Magazine Rush Hour Concerts at St. James Cathedral RushHour.org
Poetry & Music: Pianist Kuang-Hao Huang, Readings of the poems by performers Suzanne Petri and John Mohrlein.
Listen to the simulcast on WFMT here: http://rushhour.org/audioclips/7-24-12_concert.mp3
Co-sponsored by Rush Hour Concerts
This program is partially supported by a grant from
the Illinois Arts Council, a state agency.