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"The onlookers did not take this lightly. In fact, they granted it a whooping, whistling ovation of the sort one expects to witness after a first-class performance of a first-class new work."


James Wierzbicki, St. Louis Post Dispatch


"What a strong, intriguing dancer."


Lisa Bates Dance Professor at MiraCosta College


 “Patrick Suzeau arced across the Folly stage with both expressive and spatial range. Close emotional gestures built into grander, full body sweeps. Dancers stereotypically retire earlier than people in most other fields. Suzeau, well advanced in years from the mainstream professional dancer, dances astonishingly, a testament to the human potential to exceed expectation.” 


@KC online

"Exquisitely and sensitively performed, the solo breathes with each gesture expanding and opening and then softly contracting, energy gently deflating inward, towards the body’s center.  The whole dance proceeds wave-like in overlapping fluctuations within which the flow is intermittently disturbed- fluttering gestures suggestive of a broken wing or the downward pull of aborted or precarious landings. Lovely as breath itself and resembling a flight that doesn’t quite get to soar."


Shawn Womack, Professor of Theatre Grinnell College, Iowa




Combining the virtues of mime and dance this work is a witty take off on the silent film era, in which Suzeau plays the 3 characters.  Choreographed by Meli Kaye, the music is by Franz Von Suppe.


"A modern dance with mime, Suzeau merely used a ribbon tied in a bow to depict the wench, the hero and the villain. It was energetic, and Suzeau played all parts to good timing. For example, the punches delivered by the hero were then played out by the villain, in receiving the blows. The dance was completely enjoyable."

Subhadra Devan The Malaysian Insider, Kuala Lumpur


"Suzeau delighted the crowd"


 Lawrence Journal World


"Envisioned as a witty take off a silent film-era melodrama, this entertaining piece was exquisitely performed by KU professor of dance, Patrick Suzeau. Without a doubt, this solo was one of the high-points of the concert.… exquisitely performed by Suzeau." 


UNews: University of Missouri,Kansas City


Music by Toby Twining, this is a dramatic solo in which the costume is an important element.


"Suzeau is a very dramatic, emotional dancer. He acts as well as moves."


Carolyn McMaster The Lawrence Journal-World



A romantic, mysterious atmosphere is evoked and supported by the Moonlight Sonata Adagio by Beethoven


This work is a synthesis of Western and Indian classical dance.


"The show opened with "Invocation," a stunningly beautiful piece"

Nicole English, Special to The Star, KC


"what sets Suzeau apart is that he completes movements so fully. When he moves his arm forward, he carves out the space before him and claims it. Even his stillness has energy in it"


St. Louis Post Dispatch


"...a tour de force that was as much fun for the audience as it was for an obviously be-blissed Suzeau"


Topeka Capitol Journal


"Once settled, the performance began with a wonderful creation by Patrick Suzeau. Inspired by Hindu concepts and principles, he danced an expressive solo to live sitar music and vocals, which transformed the space and completed the piece of art. Suzeau, adorned with ankle bells, moved proudly and effortlessly, maintaining perfect balance while mastering some very difficult positions."



A kinetic meditation that is partly improvisational.



Traditional French mime is used in this hilarious retelling of the famous fairy tale choreographed by Meli Kaye. Set to Rossini's La Cenerentola Ouverture


"a comical dance in which the solo dancer plays out the complete tale in quick succession"


Michael Huebner,

The Kansas City Star


This is a darkly comic solo set to music by Malcolm Arnold.


"Suzeau began with a satirical "Portrait" of a tense businessman. In his three-piece suit, and always leaning forward, he rams his way through space with briefcase as his masthead. He opens and closes the briefcase a though it were devouring whatever lay before it, praying to and pulled by the god Avarice."


Jan Eigner, KDHX-FM, St. Louis


"Unforgettable images include Suzeau's mouth and briefcase snapping open and shut like a biting, two-headed creature, his legs running beneath him as he reads the paper, and his pointing one way and walking another."


Regina Popper, St. Louis Post-Dispatch


"Portrait brought a rich satire to his caricature of a happy and somewhat smug yuppie. He slithered with ingratiating charm, attacked with his crocodile-like leather briefcase snapping open and shut, and reverted to ape-like hugging and grabbing as he rolled on the stage like a chimp."


Jennifer Noyer, Albuquerque Journal

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