Eadie Scott is the managing artistic director of Manhattan Cabaret Arts, which offers performance workshops, direction of group and solo shows and private voice study. Originally founded by Collette Black, Scott took over the managing position in 2018 and has continued Ms. Black’s vision of a cabaret family. Jerry’s Women, a vocal group that celebrates the music of Broadway composer-lyricist Jerry Herman, will present A Tribute to Jerry Herman on Saturday, November 13, both at 7 PM at Don’t Tell Mama. Jerry’s Women began back in 2020 when Scott had the idea to create a show based on the mature female characters represented so lovingly by Herman in his decades-long career. The group’s name is a nod to the successful Broadway revue Jerry’s Girls.
This rapidly-paced show features 21 of Herman’s songs represented as solos, medleys and ensemble numbers. The cast is comprised of cabaret veterans: Ellen Auwarter, Rochelle Breyer Chamlin, Dorrie Domenick, Mary Ellen Ryan. It is directed by Scott with musical direction by Paul Chamlin.
NiteLife Exchange (NLE) asks Eadie Scott (ES) Six Questions:
NLE: When did Manhattan Cabaret Arts first start and what is the mission?
ES: Manhattan Cabaret Arts was founded in 2007 by Collette Black, shortly after the closing of the beloved club Rose’s Turn in the West Village where she was the booking manager.
Our mission is to keep cabaret alive and thriving! Manhattan Cabaret Arts is a full service community for all things cabaret. We offer performance workshops, non-performance workshops, private coaching, private voice lessons, and direction of individual and group shows. We celebrate the telling of stories through song. Our teaching and coaching approach is supportive, inclusive and nurturing. We firmly believe in the healing power of music and encourage any one with a song in their heart to lift up their voice in song.
NLE: Over the years what were some of the other showcases presented?
ES: Manhattan Cabaret Arts has done countless showcases with themes; we pride ourselves in having a great variety of theme shows. We like to keep our audiences engaged and educated. We like to personalize shows around our performers as well. Some of our theme shows performed over the years are: Let’s Go to the Movies (celebrating songs from movies ), Across the Pond (music by British composers and British performers), Cabaret Goes Pop (pop songs from different eras), Ladies of the 80’s (women singing songs from female 1980’s hits), Playin the Palace (celebrating music made popular by legendary stars at the Palace Theater) and Out of the Mouths of Babes ( and all-woman cast with an all-woman band).
Since coming back after the pandemic, we have this Jerry Herman revue and also She Rock, a show with four women featuring the hits of 1970’s rock legends Carole King, Carly Simon, Melissa Manchester and Linda Ronstadt. Coming up in 2022, we’ll have a show called One Hit Wonders and two workshops starting in January,which we are very excited about, featuring music made popular by Judy Garland.
NLE: As a performer, of all the “Girls” in Jerry Herman’s shows, which one would you cast yourself as?
ES: That is the best question! I think there is a little bit of “me” in each of the cast members’ performances. This review focuses on the music of Jerry’s “older” characters, and as an “older character”—LOL—I see myself everywhere.
Some of Mary Ellen’s comedy numbers are in my wheelhouse, some of Rochelle and Dorrie’s ballads as well. I have played Dolly and both Ellen and Mary Ellen are singing some Hello, Dolly! songs, and Dorrie is singing a number from Mame, all roles I identify with. And then Dear World, which I did in college, has a wealth of interesting songs for “women of a certain age.” So, as the typical actor, I will say: all of them!
NLE: What ensemble number was the most challenging to stage and why?
ES: I would say the opening medley of “It’s Today” (Mame) with “We’re Almost There” (The Grand Tour). And that is primarily because of limited space. I got ambitious with choreography and then once we got on the stage I realized I was asking the performers to do too much on a postage stamp, and with 4 stools on the stage, so we reworked that. I am very proud of the variety of movement and playing areas we use and the vast amount of music the singers cover in a one hour show.
NLE: Did the cast take part in choosing the songs they would present individually in the show or were they assigned parts?
ES: I chose all of the songs and I specifically chose them for each woman according to her “type,” both emotionally and vocally. One or two songs were moved around per the singers request—but 95% of the songs were assigned by me.
NLE: After presenting this showcase, if you could pick one of the full musicals from Jerry Herman’s incredible body of work to mount as a full production, which would it be and why?
ES: I love the score to Mack and Mabel. I myself would like to play Dolly again and Mame and Countess Aurelia. I would say Dear World, though. That show is full of so much that is relevant today in our world. It has such a positive message about humanity and being good stewards of our planet, and it has wonderful and strong female characters along with that great score. Plus, it has never been revived.
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