Sherie Rene Scott: You May Now Worship Her
Once in a blue moon, musical theatre provides a window for a few very talented and very special actors to rocket from one iconic role to another, garnering acclaim and a wide and wonderful fan-base along the way. And any musical theatre fan will tell you – we worship our icons!
Looking at her impressive New York track-record, Sherie Rene Scott is certainly a viable candidate for the pedestal.
However – in spite of portraying a fashionista princess in Aida, a lesbian rocker rebel in Rent, the con-girl with a Colgate smile in Dirty Rotten Scoundrels and currently the eight-armed sea-witch in The Little Mermaid – Sherie Rene Scott doesn't quite consider her performing career as a "career."
This Monday, March 31, 2008, Scott will concoct an experiment in truth-telling and ask the question: "Why worship?" in her new and original one-woman show You May Now Worship Me. The one-night-only concert at the Eugene O'Neill Theatre benefits Broadway Cares/Equity Fights AIDS and the Phyllis Newman Women's Health Initiative. For tickets and information visit www.BroadwayCares.org
BroadwayWorld chatted with Sherie Rene Scott to learn more about You May Now Worship Me and the joys of portraying a notorious Disney villain…
Eugene Lovendusky: Congratulations on your new show! What are you looking forward to most on Monday?
Sherie Rene Scott: I would say "getting to see everyone" but I'm not going to see anyone. It's just shapes in the dark. I will be working and hopefully fully present – meaning, not intoxicated [laughs]. I'm hoping to do good work to make everyone glad that they forked over some money to the Phyllis Newman Foundation and gave up their night off to see me.
Eugene: You May Now Worship Me is being billed as Sherie "telling the whole truth and nothing but the truth." What exactly are audiences in-store for?
Sherie: It's actually "the truth, the whole truth, and nothing but the truth – just better." [laughs] If it were just the truth, that'd be boring. It's an evening of stories and singing, with lots of laughter and exploring the concept of worship and the need to worship. I call it a performance piece because it sounds pretentious – and it probably is.
Eugene: How has the show changed and evolved since May, when you performed at the Zipper?
Sherie: Last May, it was more like an invited-dress. Dick Scanlan and I have been writing this over the course of a few years. It evolved into a first presentation, though we didn't have a director. I just had a perverse need to do this performance-piece and get it up on its feet. From that, we had a lot of interest from directors. Fortunately, Michael Mayer was incredibly enthusiastic to help us out. We acquired some producers. So when Broadway Cares saw the show, they were interested in doing something different with their benefits. Since this was something already conceived and in-motion, Tom Viola (BC/EFA Executive Director) thought would be a great idea to do this show as one of their benefits instead of a series of people getting up to sing.