Press

Empire Plush Room Engagement of Have A Little Paris On Me

From Contra Costa Times by Pat Craig:
"...She doesn't disappoint. The magic she makes on the CD is doubled with her live performance as she sings about the town she loves."

From Beyond Chron by "Buzzin" Lee Hartgrave:
"...Debbie de Coudreaux is stunning with her hair pulled back and she has amazing stage presence. When you look at her, visions of the great dancer/singer/movie star Ann Miller come to mind. Have A Little Paris On Me -certainly has it's moments, and de Coudreaux has a rich full voice with tremendous range."

From Piedmont Post by Robert Lee Hall:
"...Debbie de Coudreaux [has] a knock-out voice...sometimes vibrantly operatic, sometimes smokily bluesy, sometimes jazzily syncopated..."

From KGO Radio by Jerry Friedman:
"...Backed by a superb trio of piano, bass and drums, [Debbie] displays a magnificent voice and personality, together with comedy and special material, providing a most captivating evening of cabaret."

From San Francisco Bay Times:
"...de Coudreaux can belt a lyric with the best of them, and when she does her projection fairly rattles the cocktail glasses in the intimate Plush Room..."

Debut CD Have A Little Paris On Me

From CityCabaret, Elizabeth Ahlfors:
"[A] valentine to a city she obviously adores, "Have A Little Paris On Me " exudes a joie de vivre that won't quit. Through songs, de Coudreaux tells the story of her love affair with Paris and she has the theatre chops to do it with élan and authority...[she] infuses her song lyrics with dramatic fire, unwrapping the romance, joy, humor and angst so identified with the City of Love...an intoxicating cocktail of old and new standards and theatre songs, all with a French twist."

M.A.C. nominated show You Don't Know Paree performed at Eighty-Eights

From Bistro Bits by Martin Schaffer:
"I was perfectly charmed by Debbie de Coudreaux's Paris-inspired show…She is a statuesque and beautiful woman with a sophisticated demeanor which hides a wicked sense of humor. Her voice…is capable of fine interpretations of both tender ballads and more uptempo, comic material…De Coudreaux delights with her essence of style and sentiment, which she balances with ease…[She] is a welcome addition to New York's cabaret beat. She brings a wonderful sense of style and humor-a sort of French music-hall sensibility-to her performance and to the cabaret stage in general."

WBAI-Radio, Marle Beker:
"…Ms. De Coudreaux is a gifted singer with talent to spare….To say she is a well-needed shot in the arm to New York night life is only putting it mildly. She is a stunning woman-stylish and chic. And when she smiles she's like an art deco neon sign that hypnotically lures us into exotic hinterlands. She's a singer who can wrap her voice around a song in a stylistic yet dramatic approach that shapes and colors the lyrics in a deeply personal fashion. She can be profoundly moving one minute…and mischievously naughty [the next] without ever breaking the flow of the evening or the seemingly abrupt change from ballad to blues to swing tempo songs…Hopefully this is the beginning of a long term love affair between Debbie de Coudreaux and New York night club audiences…I think she's going to be a major force in New York cabaret night life."

For the Moulin Rouge-Paris, France

Variety:
"…Debbie de Coudreaux is the spectacle's reigning goddess, a pleasing vision, charming and adroit in all she does… "

France Soir:
"…she has the feathers, the voice and the culture…"

Gaultmillau:
"…Debbie de Coudreaux has been enchanting the cosmopolitan public for eight years…From show to show, by her voice, her allure and her finesse; she incarnates at the music hall the 'queen of the night'. Although she is American, Debbie represents…the image of Paris and France, like Josephine Baker before."

For Hal Prince's Show Boat

Contra Costa Times-Pat Craig:
"…de Coudreaux is breathtaking as Julie."

San Francisco Examiner-Robert Hurwitt:
"Debbie de Coudreaux…delivers a lively "Can't Help Lovin' That Man of Mine" and a beautifully phrased, poignant "Bill".

Pittsburgh City Paper - L.L. Kirchne:
"Stunning in her exuberant youth as the Cotton Blossom's star, Debbie de Coudreaux's Julie was equally believable as the boozy old broad who could still sing her heart out. De Coudreaux's rendition of "Can't Help Lovin' Dat' Man of Mine" was flawless."

Pittsburgh Post-Gazette-Robert Croan:
"…Tall, glamorous Debbie De Coudreaux does indeed look the part of the half-caste Julie, and…she makes her torch song, "Bill," one of the evening's most moving moments."

Philadelphia Inquirer-Clifford A Ridley:
"…as Julie, Debbie de Coudreaux…sings "Bill" with such heartbreaking simplicity that…nothing else mattered."

Orange County Register-Paul Hodgins:
"…As Julie…Debbie de Coudreaux is magnificent, particularly in the second act, when she brings the tragedy of the role to a heart-rending climax… De Coudreaux's performance of "Bill," a cynical song about love, is the show's saddest moment."

The Dallas Morning News-Lawson Taitte:
"Regal-looking Debbie de Coudreaux gets "Bill" just right stylistically…Over the years torch singers and cabaret artists have stretched out Mr. Kern's songs to slow lengths…Ms. De Coudreaux…knows how to wring hearts at the appropriate fast tempo."

The Arizona Republic- Kyle Lawson:
"…Debbie de Coudreaux, as Julie, the mulatto whose rendering of the classic "Bill" stops the second act."

The Providence Journal-William K. Gale:
"Debbie de Coudreaux brings depth and feeling-as well as a fine low soprano-to Julie…"

The Indianapolis Star-Charles Staff:
"…Debbie de Coudreaux, as the tragic half-black, half-white entertainer, Julie, [is] the answer to a critic's prayers."

Milwaukee Journal Sentinel-Damien Jaques:
"A spirited Debbie de Coudreaux makes the tragic Julie more interesting than some of the other actresses who have played the part, and that produces an affecting style when she sings her big number "Bill"…an exciting actress-singer…"

Sacramento Bee-Karen D'Souza:
"De Coudreaux imbues Julie with a tremulous courage that gives numbers like the swinging "Can't Help Lovin' Dat Man" and the torchy "Bill" an extra measure of tragic yearning."

For the West Virginia Public Theater's Man of La Mancha

The Dominion Post-Kim Oriole:
"…Debbie de Coudreaux puts in a strong performance as the two-sided Aldonaz/Dulcinea, the rough-edged prostitute/fair maiden..."

 

 
 
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