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The Tufts Daily
Where you read it first | Monday, March 18, 2024

Bernadette Peters dazzles at Granoff Hall concert

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Bernadette Peters gave a spectacular concert at Tufts this weekend, attended by President Monaco and Marty Granoff.

A jagged line of shins and shoes stretched out into the hallways of Granoff Hall, nearly blocking traffic, as eager fans of Bernadette Peters sat against the wall, waiting. Hoping to secure rush tickets to the Broadway and television star’s 8 p.m. concert, students and local community members alike began lining up more than two hours in advance. Luckily, their efforts paid off, and all who waited were eventually given seats, ushered into Distler Auditorium alongside other guests, including President Monaco and Marty Granoff of the Granoff Music Fund and Center.

Amidst the inevitable introductory speeches and handshakes, one could just barely catch a glimpse of shimmering light, reflected from Peters’ dress as she waited offstage in one of the wings. Audience members seated on the left side of the house craned their necks, but didn’t have long to wait. In a burst of music, the lady of the hour boldly sauntered into the room, singing an energetic rendition of “Let Me Entertain You” from Gypsy (1959).  Encased in a glittering pale lavender gown, topped with her trademark auburn curls, Peters began the evening with abundant energy, and more than a few witticisms.

“What can we talk about?” she mused at one point. “The real estate market sure is flat. I’ve been trying to get rid of a vacation property recently … not that I’d ever try to sell it from the stage,” she joked. Full of playful comments, Peters seemed determined to put the audience, and maybe herself, completely at ease.

This lively atmosphere set the tone for the first half of the evening, which she began in earnest with a beautifully acted performance of “No One is Alone” from “Into the Woods” (1986). Accompanying each musical phrase with a look or a gesture, Peters assumed the role of a storyteller in addition to singer.

Her creative interpretation of “There’s Nothin’ Like a Dame” from “South Pacific” (1949) was also high-energy. Typically an ensemble number sung by a group of sailors, the lyrics of this song, “We have nothin' to put on a clean white suit for / What we need is what there ain't no substitute for” were transformed by Peters. Changing “we” to “you” and teasing out the lines syllable by syllable -- ain’t no sub-sti-tute for -- she made the song her own, her coy delivery always hinting that she herself was one of these irreplaceable dames.

Later in the evening, Peters surprised audiences by announcing that her next number was not a show tune, but a personal favorite nevertheless. Though not a part of her usual repertoire -- “It’s my first time, so be gentle with me,” she said with a wink -- “Fever” (1956) was perhaps the most magnetic, and certainly the most theatrical, point in the program. Snapping her fingers while draped across the piano, Peters’ sultry version of the R&B classic electrified the hall, proving -- as if she needed to -- that she can sing more than Sondheim.

Despite her playful introduction, this slow, intense choice brought a hush over the audience that lasted for the rest of the evening. Unlike the upbeat, lighthearted selections of the first half, the second phase of the evening was devoted to more introspective songs, paired with understated performances.

Twin ballads from Sondheim, “Losing My Mind” and “Send in the Clowns” paint dark portraits of love and loss. Fittingly, Peters sang these two heart-wrenching songs while standing almost motionless on center stage, her voice more raw than on any recording, and incredibly powerful. It was difficult to tell, but at times it looked as though she might have tears on her cheeks. For these emotional performances, any added dramatic flair would have been too much; the intimate venue made it possible to see each expression as it crossed her face, allowing Peters to communicate the feelings behind each verse like the professional that she is.

Concluding with a standing ovation and calling for a brief encore, audience members seemed to truly appreciate the concert for what it was: a wonderful treat. Sometimes playful and sometimes unabashedly emotional, Peters’ performance was dynamic and entertaining, crackling with the excitement only a live concert can generate.