Nov
Review: Tammy Faye – Elton John’s Tunes Can’t Lift This Middling Musical
The Broadway adaptation of televangelist Tammy Faye Messner’s life struggles to delve deeply into her complexities, relying instead on over-the-top humor and bright spectacle.
Upon entering the revamped Palace Theatre, audiences are greeted by an image of Tammy Faye’s iconic face against a pastel sky. It’s a fitting nod to her unforgettable makeup, with trails of mascara hinting at the pain behind her lively persona. Unfortunately, this musical, after a well-received run at London’s Almeida Theatre, forgoes a thoughtful exploration of Tammy’s struggles in favor of flashy visuals and outlandish gags, losing the depth her life story deserves.
In its Broadway debut, Tammy Faye, with a book by James Graham and featuring the talents of Olivier-winner Katie Brayben as Tammy and Tony-winner Christian Borle as her husband Jim Bakker, tries to blend Tammy’s personal journey with the political backdrop of American televangelism. While this concept holds promise, the musical ultimately delivers a superficial portrait of the beloved, controversial figure.
The musical charts Tammy and Jim’s rise, from their early days performing puppet shows to becoming household names in Christian television. Tammy’s charm and innovative approach to Christian programming — including interviews and lifestyle segments — skyrocketed their show to popularity. But as they gained fame, powerful figures like Jerry Falwell (played by Michael Cerveris) schemed to topple the couple, fearing Tammy’s progressive influence and undermining her success.
The show’s tone wildly oscillates as it seeks to balance Tammy’s Christian joy with the political implications of the televangelism boom. One moment, the ensemble delivers campy, innuendo-laden musical numbers with over-the-top antics, and the next, Falwell sings a somber, fire-and-brimstone ballad. This tonal inconsistency, combined with frenetic pacing, detracts from any meaningful exploration of Tammy’s life or her legacy in American politics.
The musical also sidelines Tammy’s role in the financial controversies surrounding PTL, portraying her more as a victim than as an active participant. The narrative glosses over the impact her organization’s actions had on followers, making it difficult for the audience to engage with her character’s complexities.
While Elton John’s music and Jake Shears’ lyrics add a touch of Tammy’s inner world, few songs leave a lasting impression beyond “He’s Inside Me” and “In My Prime Time.” Brayben’s standout vocal performance lends emotional weight, especially in the musical’s final moments. However, a few less memorable songs could have been trimmed to focus more on Tammy’s story.
Brayben skillfully portrays Tammy’s blend of kindness and inner conflict, while Borle’s Jim Bakker transitions from charming to morally compromised with subtlety. Cerveris captivates as the menacing Falwell, but the script and direction by Rupert Goold rush past key character developments, making it hard to empathize with anyone by the musical’s end.
Still, the production shines in moments like Tammy’s landmark 1985 interview with AIDS patient Steve Pieters, a powerful scene highlighting her compassionate nature. Other scenes, such as a backstage moment where Tammy steels herself for a big performance, provide glimpses of the raw resilience that defined her.
Review: Tammy Faye – Elton John’s Tunes Can’t Lift This Middling Musical
The real star of Tammy Faye may be its dazzling staging, costumes, and makeup. Costume designer Katrina Lindsay captures Tammy’s evolving style, while Luc Verschueren’s hair and makeup designs bring her signature look to life. Bunny Christie’s stage design, a Hollywood Squares-inspired set, creatively adapts to various scenes and allows for dynamic storytelling.
Ultimately, Tammy Faye aims to deliver a message about self-love and forgiveness, but its attempt to encapsulate Tammy’s life in a single show falls short. This complicated portrait reflects an equally complicated woman, though not quite as effectively as it could.
Grade: C
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