Friday, April 30, 2010

Broadway Theater Review: Everyday Rapture with Sherie Rene Scott

A Celebration of Self with a Touch of Sadness
By Lauren Yarger
Everyday Rapture is actress Sherie Rene Scott's autobiographical "psycho-sexual-spiritual journey on the rocky path that separates her mostly Mennonite past from her mostly Manhattan future."

It’s supposed to be a celebration, but it leaves me kind of sad. Both times I have seen it – last year Off-Broadway at Second Stage and this year on Broadway where it is Roundabout Theatre Company’s last-minute replacement for the canceled Lips Together Teeth Apart – the show has left me wanting to give the talented actress a hug and tell her that people apparently have misrepresented God to her along her journey (just as Jesus is misrepresented in the show’s video sequence from designer Darrel Maloney), but that he loves her.

That said, Scott has co-written (with Dick Scanlan) a script chock full of song (Marco Paguia, musical direction), dance (Michele Lynch, choreography) and humor performed on a set designed by Christine Jones that evokes thoughts of a cosmic connect-the-dots (lighting by Kevin Adams). Directed by Michael Mayer (who also helmed Spring Awakening and American Idiot), the production is slick and has moved pretty much as an intact redo of the Off-Broadway show (and hence the following review is much the same as the one written last year).

Backup singers Lindsay Mendez and Betsy Wolfe reprise their roles as does Eamon Foley as a young nerdy kids lip synching to a recording of Scott singing “My Strongest Suit” from the role she originated in Aida. This is the show’s most entertaining segment and Foley is a hoot.

A rabbi (or was it a Muslim or a Buddhist, she wonders) tells her to carry two opposing approaches to life written out on sheets of paper in both of her hip pockets so that both choices are available to her. They are "you are a speck of dust" and "the world was created for you." Her goal in life: "to be one with God while a lot of people clapped” so the idea of not having to choose between the two approaches appeals.

Torn between her desire from a very early age to be a star and a "half Mennonite" upbringing that frowns on prideful pursuits (the only cool thing about being Mennonite, she tells us, is that you’re supposed to be non-judgmental), Scott gets her first chance to perform for patients at a mental hospital.

“No matter what God said, I was going to modulate,” she says. A series of photos and mocking depictions of Jesus are projected on a screen while Scott sings “You Made Me Love You, I Didn’t want to Do it…”

Her cousin, Jerome, who shares her adoration of Judy Garland, tells Scott he thinks she has what it takes to make it big in show business. Fueled by his encouragement and disillusioned by hateful anti-gay protests by people from her church at Jerome’s funeral, Scott heads off to New York when it’s time for her Rumpsringa (a Mennonite tradition where those coming of age are allowed to experience life outside of the sheltered community for a year). She struggles to silence the internalized judgmental voices from her childhood that prevent her from “articulating her adult desires.”

In the city, she meets a street magician named Ray who gets her pregnant before she returns to Kansas (doing some magic tricks, Scott pops a balloon to much laughter to represent her lost virginity). She comes to a realization that keeping the two slips of paper in her pockets doesn’t allow her to avoid making a choice. “You do have to choose,” she says. “It’s either or. I chose life. My own.” She has an abortion.

Scott goes on to “live in her own song” and to achieve success on Broadway in some “semi-starring” roles. She reaches out to the awkward boy lip synching on You Tube. She becomes increasingly frustrated, however, when her attempts to be nice to the boy result in his refusal to believe that the person contacting him via email really is the Broadway star.

Through the course of her journey, Scott worships Jesus, Judy Garland and Fred Rogers (of Mr. Rogers’ Neighborhood), then finally her young son’s luck. She discourages his search for a four-leaf clover because she doesn’t believe in luck -- that people make their own luck – until he finds one on his first attempt. She takes this as a sign that her son is lucky and when the family cat eats the clover, she almost strangles the animal in a desperate attempt to save the luck so her son won’t have to be a speck of dust.

She concludes with thoughts about how the Mennonites always taught she should be prepared for the Rapture but she has found, instead, that by embracing a world created for her, she experiences a rapture every day.

“May your Rumspringa last forever,” she says.

It’s her celebratory conclusion, but the show has more of a sad feeling of someone looking for justification and approval to me.
Everyday Rapture plays through July 11 at the American Airlines Theatre , 227 West 42nd St., NYC. For tickets, call (212) 719-1300.

Christians might also like to know:
• Simple magic tricks
• Irreverent photos of videos of Jesus and a mocking description of his death on the cross
• Abortion

1 comment:

Retta Blaney, M.A., M.F.A. said...

I HATED it and would have left if I hadn't been in the middle of a row. I found it to be self-serving and offensive.

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Our reviews are professional reviews written without a religious bias. At the end of them, you can find a listing of language, content or theological issues that Christians might want to know about when deciding which shows to see.

** Mature indicates that the show has posted an advisory because of content. Usually this means I would recommend no one under the age of 16 attend.

Theater Critic Lauren Yarger

Theater Critic Lauren Yarger

My Bio

Lauren Yarger has written, directed and produced numerous shows and special events for both secular and Christian audiences. She co-wrote a Christian musical version of “A Christmas Carol” which played to sold-out audiences of over 3,000 in Vermont and was awarded the Vermont Bessie (theater and film awards) for “People’s Choice for Theatre.” She also has written two other dinner theaters, sketches for church services and devotions for Christian artists. Her play concept, "From Reel to Real: The Jennifer O'Neill Story" was presented as part of the League of professional Theatre Women's Julia's reading Room Series in New York. Shifting from reviewing to producing, Yarger owns Gracewell Productions, which produced the Table Reading Series at the Palace Theater in Waterbury, CT. She trained for three years in the Broadway League’s Producer Development Program, completed the Commercial Theater Institute's Producing Intensive and other training and produced a one-woman musical about Mary Magdalene that toured nationally and closed with an off-Broadway run. She was a Fellow at the National Critics Institute at the O'Neill Theater Center in Waterford, CT. She wrote reviews of Broadway and Off-Broadway theater (the only ones you can find in the US with an added Christian perspective) at http://reflectionsinthelight.blogspot.com/.

She is editor of The Connecticut Arts Connection (http://ctarts.blogspot.com), an award-winning website featuring theater and arts news for the state. She was a contributing editor for BroadwayWorld.com. She previously served as theater reviewer for the Manchester Journal-Inquirer, Connecticut theater editor for CurtainUp.com and as Connecticut and New York reviewer for American Theater Web.

She is a Co-Founder of the Connecticut Chapter of the League of Professional Theatre Women. She is a former vice president and voting member of The Drama Desk.

She is a freelance writer and playwright (member Dramatists Guild of America). She is a member if the The Outer Critics Circle (producer of the annual awards ceremony) and a member of The League of Professional Theatre Women, serving as Co-Founder of the Connecticut Chapter. Yarger was a book reviewer for Publishers Weekly A former newspaper editor and graduate of the University of Missouri’s School of Journalism, Yarger also worked in arts management for the Bushnell Center for the Performing Arts, the Hartford Symphony Orchestra and served for nine years as the Executive Director of Masterwork Productions, Inc. She lives with her husband in West Granby, CT. They have two adult children.

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All material is copyright 2008- 2022 by Lauren Yarger. Reviews and articles may not be reprinted without permission. Contact reflectionsinthelight@gmail.com

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Key to Content Notes:

God's name taken in vain -- means God or Jesus is used in dialogue without speaking directly to or about them.

Language -- means some curse words are used. "Minor" usually means the words are not too strong or that it only occurs once or twice throughout the show.

Strong Language -- means some of the more heavy duty curse words are used.

Nudity -- means a man or woman's backside, a man's lower front or a woman's front are revealed.

Scantily clad -- means actors' private areas are technically covered, but I can see a lot of them.

Sexual Language -- means the dialogue contains sexually explicit language but there's no action.

Sexual Activity -- means a man and woman are performing sexual acts.

Adultery -- Means a married man or woman is involved sexually with someone besides their spouse. If this is depicted with sexual acts on stage, the list would include "sexual activity" as well.

Sex Outside of Marriage -- means a man and woman are involved sexually without being married. If this is depicted sexually on stage, the list would include "sexual activity" as well.

Homosexuality -- means this is in the show, but not physically depicted.

Homosexual activity -- means two persons of the same sex are embracing/kissing. If they do more than that, the list would include "sexual activity" as well.

Cross Dresser -- Means someone is dressing as the opposite sex. If they do more than that on stage the listing would include the corresponding "sexual activity" and/or "homosexual activity" as well.

Cross Gender -- A man is playing a female part or a woman is playing a man's part.

Suggestive Dancing -- means dancing contains sexually suggestive moves.

Derogatory (category added Fall 2012) Language or circumstances where women or people of a certain race are referred to or treated in a negative and demeaning manner.

Other content matters such as torture, suicide, or rape will be noted, with details revealed only as necessary in the review itself.

The term "throughout" added to any of the above means it happens many times throughout the show.

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I receive free seats to Broadway and Off-Broadway shows made available to all voting members of the Outer Critics Circle. Journalistically, I provide an unbiased review and am under no obligation to make positive statements. Sometimes shows do not make tickets available to reviewers. If these are shows my readers want to know about I will purchase a ticket. If a personal friend is involved in a production, I'll let you know, but it won't influence a review. If I feel there is a conflict, I won't review their portion of the production.

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