SCANDALOUS is based on the life of Aimee Semple McPherson (1890-1944), the world's first media superstar evangelist -- a woman whose passion for saving souls equaled her passion for making sensational headlines and attracting overflow crowds of thousands throughout the world. Time Magazine named Aimee Semple McPherson one the most influential people of the twentieth century.
Set in 1920's Los Angeles, holiness collides with Hollywood in this extraordinary tale of one remarkable woman's charismatic rise to fame amidst scandalous love affairs and growing controversy, inevitably ending in her much-publicized fall from grace.
“The Life and Trials of Aimee Semple McPherson,” as the show is subtitled, are actually much more fascinating than you would gather from this formulaic Broadway musical...“Scandalous'...condenses and rearranges McPherson’s story to fit smoothly into the familiar grooves of celebrity biography. In the process the show reduces McPherson’s remarkable life to a cliché-bestrewn fable about the wages of fame…“Scandalous” isn’t so much scandalously bad as it is generic and dull…Ms. Carmello, a gloriously gifted singing actress, has never managed to snag a star-making breakout role on Broadway — not all that surprising in these difficult days for musical theater. Sister Aimee certainly provides plenty of opportunities for Ms. Carmello to thrill us with the purity and power of her voice. She leads a few rousing come-to-Jesus gospel-tinged numbers with bright-beaming intensity. She delivers the climactic soul-baring ballad with plenty of emotional heat. What she cannot do — no singer without the power of miracle could — is bring distinction to songs that never rise above the serviceable.
When Carmello sings, there’s magic in the theater, even if David Pomeranz and David Friedman’s tunes are generic (Gifford also gets a credit for “additional music”). Joel Fram’s music direction and vocal arrangements, though, are an absolute delight. The revival scenes feel like a religious experience, thanks to a winning ensemble and Lorin Latarro’s peppy choreography. Puzzlingly, set designer Walt Spangler’s clunky white altar staircase never leaves the stage. (There has to be wing space at the Simon, right? Why would there be an altar on the farm where Aimee grew up?) The entire cast is fantastic. Roz Ryan gives Carmello some scene-stealing breaks as brothel owner–turned–revival assistant Emma Jo Schaeffer. Candy Buckley fills the bill as Aimee’s overbearing mother, and Edward Watts believably morphs into two characters, husband Robert and love interest David Hutton.
2012 | Broadway |
Original Broadway Production Broadway |
Year | Ceremony | Category | Nominee |
---|---|---|---|
2013 | Drama Desk Awards | Outstanding Actress in a Musical | Carolee Carmello |
2013 | Tony Awards | Best Performance by an Actress in a Leading Role in a Musical | Carolee Carmello |
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