Tonally fluid and breezily superficial, new Elton John musical Tammy Faye gamely attempts to capture and recreate the spellbinding powers of televangelists Jim and Tammy Faye Bakker.
Premiering off-West End in London at the 300-seat Almeida Theatre in 2022, the transfer of Tammy Faye to Broadway is something of a tall order, in that it is a UK musical telling a distinctly American story. Clearly upscaled for its Broadway premiere in the vastly larger Palace Theatre, the musical sparkles along and yet struggles to make the connection between star and audience that is presented as being a key part of Tammy’s success.
There are generations now whose only familiarity of Tammy Faye’s story would be from the 2021 movie The Eyes of Tammy Faye. Watching the musical must be a different experience for audience members with a first-hand recollection of Tammy and Jim’s extraordinary success story, which is recreated in broad, colourful strokes.
Not telling much more than the recent movie, James Graham’s book plays almost like a Christian version of rags-to-riches story Jersey Boys but with scant acknowledgement of the corruption and duplicity of the stars. Tammy is mostly presented as a darling heroine who just happens to like a few nice things.
Tammy’s compassionate treatment of gay men with AIDS is beautifully handled. Alternately, the homosexual actors involved in the live Christian stage shows camp it up as though they are in a Carry On film.
Director Rupert Goold presents much of Tammy’s work and success simply on its own merits, robbing the story of subtext and tension. The audience seems to be expected to just accept and enjoy Tammy and Jim’s love and light mission, cheering them on as they overcome the big, bad, boring television pastors.
Choreographer Lynne Page has fun with the peppy period dance styles, but the presentational format required leaves little room for subtlety or storytelling.
Staged in front of a wall of television monitors, Tammy Faye is visually appealing with a cheeky retro vibe. Katrina Lindsay’s costumes are superbly realised, with Tammy’s, in particular, adding inestimably to the storytelling.
Elton John’s music is partnered by lyrics from Jake Shears (of Scissor Sisters fame). Gospel-style numbers have suitable energy and Tammy scores with a couple of big ballads but there are few, if any, memorable or distinguishable tunes to savour.
Original London star Katie Brayben soars in Tammy’s big numbers, her focussed, compelling performance one of the clear attractions of the musical.
As played by prolific Broadway star Christian Boyle, Jim comes off as goofily as a comic sidekick like Beauty and the Beast’s Lefou. This style makes sense at the beginning, when Jim and Tammy toured the US with puppets, but never develops or grows. While Tammy’s superior brains and talent make a very clear point about the early sexism she faced and gamely overcame, there is very little reason to see why she married Jim at all.
Gifted Broadway veteran Michael Cerveris all but twirls a moustache as power driven conservative Jerry Falwell. As ever, it is a joy to hear Cerveris sing and yet his number “Satellite of God” is a dreary interlude, much as Cerveris’ final note is a stunner.
The success of Tammy Faye may come down to the power of nostalgia for the US audience. There is a Broadway musical here somewhere; perhaps it will be revealed in time for the official opening night.
Tammy Faye was reviewed at a preview performance 2pm Saturday 2 November 2024 at Palace Theatre, New York. For tickets, click here.
Photos: Matthew Murphy