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Critics rave for Everyday Rapture & Sherie Rene Scott


The critics have weighed in and LOVE Broadway’s new musical


Starring Sherie Rene Scott

“Just as the Broadway theater season is drawing to its close, a smashing little show has arrived to remind us of why so many of us keep going back to Broadway.  I can’t think of another production in recent years that captures and explains so affectingly the essence and allure of musicals, and why they’re such an indispensable part of the New York landscape.  Written by Dick Scanlan and Ms. Scott, and directed with virtuoso efficiency and wit by Michael Mayer.  Ms. Scott performs with the sophistication that a New York audience (or rather an audience of New Yorkers) demands. And there’s no denying that when she sings, from a wildly diverse song list, she’s polished and inventive. Ms. Scott naturally translates life size into bigger than life.  The orchestrations and arrangements for the first-rate onstage band are by Tom Kitt (the composer of Next to Normal). And her director is, remember, Mr. Mayer, the man who staged “Spring Awakening” and this season’s American Idiot.  What Ms. Scott and her team summon here is that strange alchemy of ego, hunger, desperation and mysticism that infuses every great Broadway performance. Ms. Scott has never shined brighter or more illuminatingly.” – Ben Brantley

“In the opening scene of the charmingly frenetic philosophical/autobiographical rumination-with-songs, Everyday Rapture, Sherie Rene Scott classifies herself as “one of Broadway’s biggest, brightest semi-stars.” Not anymore, lady. Here is Scott. She is not merely carrying this enchanting carnival — coauthored by herself — on her more than capable shoulders; she is the show. Scott is a force to be reckoned with. Everyday Rapture has provided an entertaining jolt to the season’s less-than-stellar lineup of new musicals. The show’s assets remain as refreshing as they were last May at Second Stage Theatre: Michael Mayer’s smart direction; Michele Lynch’s fitting choreo-graphy; Tom Kitt’s savvy orchestrations; the performances of the backup ‘Mennonites’ Lindsay Mendez and Betsy Wolfe; and the carryings-on of teenager Eamon Foley (who offers a cartoonishly over-the-top version of Scott).” -Steven Suskin


“What do Jesus, Judy Garland and Mister Rogers have in common? Sherie Rene Scott. And finding that common thread amounts to a wonderful kind of stage magic…the kind of magical synthesis that occurs when a performer marries her tremendous talents with the perfect material to produce a show that is as entertaining as it is artistically satisfying. Marked by a stream of contrasts, this natural entertainer reveals herself to be both humble and narcissistic, spiritual and hedonistic. And both sides are on ample display that she co-wrote with Dick Scanlan highlighting her journey from Kansas to Broadway.  She pulls it off brilliantly thanks to an exquisite set of pipes and sheer force of personality. Under Michael Mayer’s solid direction it remains both a witty parody of confessional shows and an earnest showcase for a gifted diva. Scott makes fun of herself as one of Broadway’s brightest semi-stars, but her glittering performance proves she is a full-fledged star.” – Roma Torre

“…the bubbly, blond, multitalented Scott has one of those quirky, expansive theater personalities that can really fill a stage.   Her story, concocted by Scott and Dick Scanlan, is funny, touching and more than a little melodic.

Along the way, Scott, who possesses a bold, brassy voice, sings some dozen songs. The songwriters are an eclectic bunch, ranging from Elton John to Harold Arlen to Harry Nilsson to Fred Rogers to Harry Warren and more.  Director Michael Mayer speedily moves things along on the colorfully lighted stage where a five-piece band provides strong support. But it’s Scott herself who does all the heavy lifting in this entertaining show.”
– Michael Kuchwara

“Sherie Rene Scott’s Everyday Rapture is a tuneful and witty autobiographical musical.  With those doleful eyes, that wide permafrost smile set at a perpetual three-minutes-to-irony, and a crinkly mezzo that slingshots from brassy to bruised, Sherie Rene Scott (Dirty Rotten Scoundrels, Aida) has steadily established herself as New York’s leading comic divette. Does that mean we care about her life? Scott, smartly, assumes we don’t.  Scott uses the blimp-hangar that is the American Airlines Theatre as an echo chamber for her wit, backed by her “Mennonettes” and an eclectic set list that ranges from Judy Garland to Tom Waits to, yes, an erotic Mr. Rogers tribute medley. Tom Kitt’s typically brilliant arrangements are half the reason for showing up; the other half is Scott, whose lambent ease with the absurd (cleverly refined by director Michael Mayer and book co-writer Dick Scanlan) makes Everyday much more than just another maudlin auto-cabaret.” – Scott Brown

“When she’s not belting out tunes by Elton John, Tom Waits, and even Fred Rogers, the actress plays a half-Mennonite woman named Sherie Rene Scott who seeks a balance between her upbringing in a religion rooted in self-denial and her longing for fame. It’s a beautiful day in the neighborhood of this pumped-up cabaret act. B+.”
– Thom Geier

“She’s been nominated for Tony and Drama Desk awards. She’s a blue-eyed blonde with great comic timing, and her singing could melt the polar ice cap. Under the direction of Michael Mayer (“Spring Awakening”) and with Dick Scanlan’s help on the book, Scott recounts her trajectory from Topeka, Kan., to Broadway through anecdotes, musings and well-chosen pop songs. But it’s a rather fanciful version of herself that Scott plays with wide-eyed, mock earnestness. And the “real Sherie” versus “stage Sherie” pairing is only one of the several on which the show is cleverly built. The musical interludes are uniformly splendid. Backed by her two Mennonettes (Lindsay Mendez, Betsy Wolfe), Scott is a stylist in full control of her instrument. The low-key arrangements by Tom Kitt (“Next to Normal”) only enhance her amalgam of precision and warmth.” – Elisabeth Vincentelli

“Scott, who knowingly describes herself as ‘one of Broadway’s biggest, brightest semi-stars,’ created the fabulous diva-squid in the otherwise forgettable Little Mermaid and more than held her own with scene stealers John Lithgow and Norbert Leo Butz in Dirty Rotten Scoundrels. She has a big, open voice, a pure yet naughty sense of herself as both child and woman, and a lush, sultry, goofy quality.  She, co-author Dick Scanlan and director Michael Mayer (American Idiot) have put together a good-natured, often witty confessional with songwriters as diverse as Tom Waits, Yip Harburg and, most usefully, Fred Rogers (of the ever-empowering “Mr. Rogers’ Neighborhood”).
She tells her tale against a pinball galaxy sky and a five-piece band. She has two excellent backup women (Lindsay Mendez and Betsy Wolfe).  – Linda Winer

(*** out of four stars)
‘Everyday’ joys: Wit, wonder and cheek on Broadway.  The sweetly brassy voice and breezy wit Scott has lent to musicals such as Dirty Rotten Scoundrels and Aida are offset by a sense of girlish wonder and yearning as she recalls youthful challenges and reflects, with graceful humor, on enduring spiritual questions.  That mix of tenderness and sass also informs the musical numbers, which nod to childhood heroes such as Rogers and Judy Garland. Scott’s irreverent, sexy gospel of liberation can be moving stuff.” – Elysa Gardner

“We can use one more theatrical autobiography if it’s as funny, quirky, and offbeat as Sherie Rene Scott’s “Everyday Rapture,” now in a Broadway transfer after a hit run at Second Stage last year.  The witty script is by Scott and Dick Scanlan.  The strong, clear voice and off-center sense of humor that informed her standout performances in “Aida,” “Dirty Rotten Scoundrels,” and “The Little Mermaid” are on full display. Director Michael Mayer gives the 90-minute show the same combination of intensity and precision he brought to “American Idiot” and “Spring Awakening.” Christine Jones’ twinkling-star set is illuminated by Kevin Adams’ flashy lighting and Darrel Maloney’s clever projection design.  Thanks to Scott’s insightful self-examination, razzle-dazzle showmanship, and dynamite vocals, this is a satisfying and enjoyable way to end the 2009-10 Broadway season.” – David Sheward

Roundabout Theatre Company’s (Todd Haimes, Artistic Director) Everyday Rapture opened last night at American Airlines Theatre on Broadway (227 West 42nd Street).

Sherie Rene Scott stars in Everyday Rapture, the critically acclaimed new Broadway musical by Dick Scanlan & Sherie Rene Scott and directed by Michael Mayer.

This is a limited engagement through July 11th, 2010.

Everyday Rapture is the story of a young woman’s psycho-sexual-spiritual journey on the rocky path that separates her mostly Mennonite past from her mostly Manhattan future. Her life takes her from the cornfields of Kansas to the clover fields of New York (with a disturbing detour through YouTube). Everyday Rapture also features songs made famous by David Byrne, Roberta Flack, Mister Rogers, The Supremes, Elton John, Tom Waits, U2 and Judy Garland.

The cast features Eamon Foley, Lindsay Mendez and Betsy Wolfe.

The artistic team includes: Choreography by Michele Lynch, orchestrations & arrangements by Tom Kitt, music supervision by Michael Rafter and music direction by Marco Paguia. The design team includes Christine Jones (Sets), Tom Broecker (Costumes), Kevin Adams (Lights), Brian Ronan (Sound) and Darrel Maloney (Projections).

Everyday Rapture premiered at Second Stage on May 3rd, 2009.  Due to unanimous critical acclaim, the production was extended twice beyond its limited engagement.  Everyday Rapture has been nominated for two Lucille Lortel Awards: Outstanding Musical & Outstanding Lead Actress (Sherie Rene Scott).

The Everyday Rapture cast album will be released in May 2010 on Sh-K-Boom/Ghostlight Records.  


Tickets will go on sale Friday, April 2nd and be available by calling Roundabout Ticket Services at (212)719-1300, online at www.roundabouttheatre.org or at the American Airlines Box Office (227 West 42nd Street). To become a Roundabout subscriber visit www.roundabouttheatre.org or call Roundabout Ticket Services (212)719-1300.  Ticket prices range from $66.50 to $116.50.
Everyday Rapture
will play Tuesday through Saturday evening at 8:00PM with Wednesday, Saturday and Sunday matinees at 2:00PM.  

Roundabout Theatre Company
is a not-for-profit theatre dedicated to providing a nurturing artistic home for theatre artists at all stages of their careers where the widest possible audience can experience their work at affordable prices. Roundabout fulfills its mission each season through the revival of classic plays and musicals; development and production of new works by established playwrights and emerging writers; educational initiatives that enrich the lives of children and adults; and a subscription model and audience outreach programs that cultivate loyal audiences.

Roundabout Theatre Company currently produces at three permanent homes each of which is designed specifically to enhance the needs of the Roundabout’s mission.  Off-Broadway, the Harold and Miriam Steinberg Center for Theatre, which houses the Laura Pels Theatre and Black Box Theatre, with its simple sophisticated design is perfectly suited to showcasing new plays. The grandeur of its Broadway home on 42nd Street, American Airlines Theatre, sets the ideal stage for the classics.  Roundabout’s Studio 54 provides an exciting and intimate Broadway venue for its musical and special event productions. Together these three distinctive venues serve to enhance the work on each of its stages.

American Airlines is the official airline of Roundabout Theatre Company. Roundabout productions are made possible, in part, with public funds from the New York State Council on the Arts, the New York City Department of Cultural Affairs, the National Endowment for the Arts; and the New York State Office of Parks, Recreation and Historic Preservation.  

Roundabout Theatre Company’s 2009-2010 season includes Stephen Sondheim and James Lapine’s Sondheim on Sondheim starring Barbara Cook, Vanessa Williams and Tom Wopat; Tennessee Williams’ The Glass Menagerie, directed by Gordon Edelstein; Dick Scanlan & Sherie Rene Scott’s Everyday Rapture, starring Sherie Rene Scott, directed by Michael Mayer.  The 2010-2011 season will include Oscar Wilde’s The Importance of Being Earnest, starring and directed by Brian Bedford; Julia Cho’s The Language Archive, directed by Mark Brokaw; Kimberly Rosenstock’s Tigers Be Still, directed by Sam Gold.   Roundabout’s sold out production of The 39 Steps made its third transfer to the New World Stages after a successful Broadway run at three Broadway theatres.

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