With the 1970s came the dawn of televangelism, the ability for ministers to preach God’s word to a congregation of millions through the power of television. Not a more famous pair of televangelists were there than that of Tammy Faye Bakker and her husband Jim Bakker. Their rise to stardom and ultimate downfall is the subject of the Almeida’s latest production, in a musical from the minds of pop titans Elton John and Jake Shears, and playwright James Graham. But does the new musical about one of America’s most famous preachers raise the rafters of the Almeida Theatre?

The direction in the hands of Rupert Goold is fluid and pacey. He brings us into the world of a TV audience allowing his cast to flirt with the fourth wall just enough to keep us engaged and involved, striking the balance well and avoiding any uncomfortable interaction. As with many shows in the Almeida, the entrances and exits through the stalls are used further to engage the audience in a sense of immersion and presence on the television set itself. Bunnie Christie’s set, primarily a wall comprising of individual cubic compartments, is strong, simple, multi-functional, and evocative. When used as a wall of TV screens, it echoes Big Brother and emphasises the omnipresence of God and the Bakkers far reach, whilst also effectively used to house scenes with the main stage, in an effort to display the thoughts of the mind and the compartmentalisation of one’s sins over one’s morals. The communication between Goold and Christie is evident with direction and set design working in tandem. Exposed wings are used to great effect to demonstrate TV set life and emphasise the pressure but also the isolation that the Bakkers felt. Lynne Page’s choreography is dynamic, working beautifully on an exceptionally hard working ensemble and a great medium of narrative communication. 

The chemistry between Katie Brayben and Andrew Rannells as Tammy Faye and Jim is sincere and authentic. Their emotional availability and trust in one another to be vulnerable makes for some gut-wrenching moments. Brayben is a marvel in her own right, like she became Carole King, she embodies Tammy with a faith and beauty that is so authentic, it drives her powerfully throughout. Last year, Jessica Chastain won the Academy Award for her portrayal of Tammy Faye, and we predict Brayben may follow suit and sweep up at next year’s Oliviers. Zubin Varla’s turn as Jerry Falwell is masterful in demonstrating the insidious nature that religious extremism can take. He crafts a calm and collected character that allows the audience to see the calculation and the justification that one is allowed to sin if it’s in order to provide a greater sense of Christian order for the majority. 

The score by John and Shears is zingy and punchy, full of raft raising numbers that have you either tapping or clapping along, or more tender moments that make you question your own religious leanings. In the moment, the songs do exactly what you want them to do, however, unfortunately that moment is ephemeral and once they pass their longevity wanes, and it’s tough to remember them, or how they made you feel. The book by Graham is slick, funny and fleshes out the characters and arc well for anyone who may be unfamiliar with the story. The show is heart-warming in displaying all the good that Tammy did and how open her heart was to anyone. She was a champion of the queer community and hugged AIDS victims to show her strength of love and faith. This all makes the ending feel a little under fed. We feel a little robbed of not having been party to Tammy’s redemption, or how seriously the tax evasion and misuse of funds of their congregation affected those people who believed in them the most. It’s also hard to see how Tammy became the gay icon she’s made out to be without seeing more of her work with, and idolisation by the gay community. 

Religion is a tricky subject, always has been, always will be; it’s been the basis of war, struggle and unity since the dawn of time. What Tammy Faye does so brilliantly is it shows you the irrevocable joy that faith can bring you, but not at the expense of the darkness it can also bring. This production shows the world a woman who fearlessly led with grace and love, who stood in front of a TV camera and said God’s love does not discriminate against race, sexuality, colour, gender or creed because God made you that way and you’re perfect. Right now, this show is the inclusive joy that the world needs given its current and scary trajectory back towards inequality, because after all; the word “love” is mentioned in the bible over four times more than the word “hate”. 

**** Four stars

Reviewed by: Duncan Burt

Tammy Faye plays at the Almeida Theatre until 3 December, with tickets available here.