According to Baz Bamigboye of The Daily Mail the musical is now set to open in autumn 2022 at the Almeida Theatre on London's West End. The production is set to be directed by Rupert Goold, who previously helmed a workshop of the show in 2020.
Another Tammy Faye saga? I'm sorry, but is she really that interesting?
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I mean, Tammy Faye was a HUGE gay icon, and with two of the biggest queer artists in music helming the score, I can definitely see how this musical could end up being a MAJOR camp extravaganza.
I’m intrigued to see how this is going to go…
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Elton John is going to be a busy man this summer/fall. Good for him.
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It's Off West End at the Alamedia Theatre in a area called Islington that's a frew train stops from the West End. Small established theatre with about 350 seats. Mat Smith was there with American Psycho a few years back.
I'm a huge fan of Tammy Faye and this gives me pause. The PTL story has been worn down to the nub. It's so boring at this point. As far as the last film, Jessica Chastain's portrayal truly became interesting to me when Tammy got to the 90s and it was just a miniscule part of the film. Tammy in the 90s was really interesting.
If it goes campy that also doesn't really appeal to me. I really appreciate Tammy and if you go straight for camp, you're not being sincere. She had camp elements but she was never trying to be campy. She was sincere. She has a good sense of humor about it. It's like making a musical about Dolly Parton all camp-it doesn't work. To make a Tammy musical very campy dehumanizes her and once you've done that you've lost her core fan base.
I think this would do better as a smaller off-Broadway show that could run longer for less money.
Also Jake Shears is lucky Elton John fancies him. I find his solo songwriting lacking, his singing mediocre at best and his last musical score was barely passable. I find him very one note.
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My understanding is that the script will focus on Tammy Faye Messner’s work in advocating for people with HIV and AIDS, and how she tried to redeem herself by becoming a gay icon. The reason they hired James Graham who is a serious political playwright (with a history of work exploring politics and LGBTQ identity) is because they wanted a writer capable of delivering a mature book that explored the sociopolitics of Messner’s involvement in the LGBTQ community.
You can’t really put a woman like that on stage and have it not be a bit campy, but I don’t think the intention is to do a full on camp fest.
Almeida run is essentially being used as a try out ahead of the West End run.
I know she's not for everyone, but I'm actually a big fan/admirer of Tammy Faye. I was initially drawn to the camp factor, but I think she's a complicated, fascinating woman. (Wasn't crazy about the movie but I'm happy she's getting more attention.) I'm also a big fan of Elton John and Jake Shears. (And very curious about James Graham's involvement.) So this show is somewhat of a must see for me.
I'm strongly considering going to London to catch this at the Almeida but the dates aren't super great for me. For anyone familiar with the London theater scene, what's the trajectory like for shows post-Almeida. I just read about Peter Morgan's Patriots transferring to the West End next summer, after its Almeida run concluded this past week. That announcement seemed fast. Tammy Faye is labeled as a "world premiere" so I suspect they are gearing for a life after the Almeida... especially with a big name like Elton John at the helm. Basically wondering if I should hold out for a transfer (either UK or US) or pull the trigger for the Almeida. (I'm sure the intimacy of the Almeida is a selling point.)
Also wondering how quickly this will sell with patrons/members of the Almeida! I'd hope to grab a single seat once they go on sale to the general public next week.
Many Almeida Theatre productions transfer to the West End, especially in the past few years with Rupert Goold at the helm - Patriots, Summer and Smoke, The Doctor, Mary Stuart, Hamlet all transfered in the past 3/4 years. And in the past decade there were shows that ended up both in the West End and New York, like Oresteia or King Charles III. James Graham has an excellent record of plays transfering to the West End, and unless it's even worse than Prada, with Elton John attached it would need to be a disaster of epic proportion not to transfer. It's a small theatre and it sells out very quickly. I think with the recent Macbeth with Saoirse Ronan they held back tickets for the general public. I hope they'll do the same for Streetcar Named Desire and they might do it for this too.
It will be transferring to the West End (unless it’s such a colossal flop they have no choice but to cancel it). The West End run was actually arranged first with the intention of going straight to the West End. Once Rupert Goold got involved he wanted it to have a run at the Almeida first, which all involved were happy to do as it will give the show a trial run to iron out any kinks.
Already in talks for Broadway at a later date. These talks and plans have been going on for several years. This won’t be a small show.
I admit I’ve only seen one show there (the recent spring awakening) but is it possible for there to be a ‘big show’ in that space? It is a small theatre. Like off Broadway vibes.
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As long as Shears isn't actually in this, there might be hope. Shears was horrendous in Kinky Boots.
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Thanks, imeldasturn & lilpunkin! You've managed to cool my jets & convince me to hold out for the inevitable transfer. I'm all for a bigger production with ironed-out kinks anyway. But of course if it turns out to be a colossal bomb & closes at the Almeida I'll never forgive myself!! :P (Still kicking myself for passing up the Spice Girls musical when I was in London a while back! And on the Elton front, I also regret missing Lestat when it was here on Broadway.)
Chastain may have won the Oscar, but the movie didn't connect with moviegoers. I still have a tough time believing this has an audience. I'm a bit sick of hagiographies, TBH.
To be fair, the Box Office for most Oscar bait movies tends to be low. Unless you are a Marvel film or daft blockbuster or a horror, you ain't making money.
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