Review - Everyday Rapture: Plain and Fancy

Don't tell anybody in Topeka, but Sherie Rene Scott is currently in her 27th year of rumspringa. But then, since she's only half Mennonite ("Amish Light" she calls it), I suppose different rules apply.

Of course, the Sherie Rene Scott who describes herself on stage as, "one of Broadway's biggest and brightest semi-stars," in the enormously entertaining variety hour (and a half) she calls Everyday Rapture, is actually a character created by the Sherie Rene Scott who co-authored the smart, semi-autobiographical musical with Dick Scanlan. Which details are factual and which are, shall we say, enhanced, are for them to know and for us to not give a damn about as we're laughing, tapping our toes and enjoying the fizzy charms of this impeccably funny, semi-funked up chanteuse.

On the advice of a wise, old... something (I'll leave it to her to explain), Scott keeps two pieces of paper in her pockets; one reminding her, "I am a speck of dust," while the other assuring, "The world was created for me." These contrasting lessons of humility and unlimited opportunity fuel her lifelong quest for, "a way to be one with God while a lot of people clapped."

With Judy Garland as a childhood influence, she incorporates classics like "You Made Me Love You" and "Get Happy" in contexts that hilariously highlight her struggle to satisfy both her faith and her ambitions. The text wonderfully plays to the star's comic persona of upbeat naiveté that glosses over the dark side of what she's saying (She describes her Mennonite community as, "non-judgmental if you don't count the shunning thing.") and director Michael Mayer's sexy, irreverent production makes a perfect foil for her innocent cheerfulness.

While the plot also makes room for songs by Harry Nillson, David Byrne and Tom Waits, the most memorable musical moments come from her discovery of the songs of that ace tunesmith, FrEd Rogers. As an early-developing adolescent who was creeped out by a sudden surge of male attention, it was songs from MR. Rogers' Neighborhood such as "It's You I Like" and "Everyone's Fancy" that supplied the sort of positive esteem-building appreciation she craved. Orchestrator/arranger Tom Kitt re-imagines the simple Rogers ditties (including "I Like To Be Told") as expressing the sensual joy a woman feels for being treated with respect and appreciated for something other than her looks. Backed up by singers Lindsay Mendez and Betsy Wolfe ("The Mennonettes") and choreographed by Michele Lynch, Scott sings with a breathy satisfaction and sincerity that makes the grown-up subtext seem like the composer/lyricist's natural intention.

In a scene that's extremely funny, but also sad in an odd-ball way, young Eamon Foley (who did some impressive riffing and belting earlier this season in Broadway's 13) plays a fan of Ms. Scott's who expresses his admiration in a very modern way. Sadder in a more conventional way are moments involving those who would protest the funeral of a homosexual or harass women seeking abortions. They are dealt with swiftly, though still respectfully.

"Whether or not the world was created for me, several second leads in Broadway shows were," quips Scott, but in Everyday Rapture she proves that while to most of the world a Broadway semi-star may be no more than a speck of dust, some of those specks - if I may paraphrase Alan Jay Lerner a bit - sparkle. Some of them do sparkle.

Photo by Carol Rosegg: Sherie Rene Scott

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