LAST CHANCE: ‘Scandalous’ may not be the bad apple of the Big Apple

After reading all the negative comments and poor box office grosses, Scandalous: The Life and Trials of Aimee Semple McPherson feels like the punching bag of Broadway. With book, lyrics and additional music by Kathie Lee Gifford, plus music by David Pomeranz and David Friedman, the musical could not overcome the tide of negativity and will close Sunday, Dec. 8 with a final 3 p.m. matinee.

Is this show, detailing the evangelical efforts of a charismatic religious leader, really all that bad?

The answer is both yes and no. The two-hour-30-minute show feels bloated, needlessly fast-paced and terribly formulaic. The jokes are so-so, and the songs enter one ear and leave the other.

Still, Scandalous is able to achieve a certain level of entertainment, and this is largely because of Carolee Carmello’s knock-em-dead performance. Man, can those lungs belt. The Broadway veteran, who has enlivened many shows on the Great White Way, infuses the musical with energy and enthusiasm, taking sub-par storytelling techniques and making everything look purposeful. The performance I attended resulted in a well-earned standing ovation, likely for Carmello and less for Scandalous.

Calling Carmello’s performance as Sister Aimee Semple McPherson an example of a stellar actress in a poor show only paints some of this theatrical picture. Throughout Gifford’s effort, there is genuine enjoyment. I’ve heard worse music and lyrics on Broadway, and some of the numbers are so rousing (and loud) that it’s difficult not to be grabbed by the material. The opening song, “Stand Up!,” is a fine energy-kicker that quickly shows Carmello’s vocal talents. “Hollywood Aimee” and “Follow Me” are also nicely staged.

The problem, and it’s a big one, is that the music never slows down and lets the story develop. Instead, every few minutes we have to hear Carmello’s booming voice, as if her character were having an epiphany after every line of dialogue. There’s not much room for subtlety in the two-act musical — just loud, loud singing.

The choice to tell McPherson’s story from her upbringing in the Midwest to her celebrity heights in Los Angeles means there’s a lot of ground to cover in a short timespan. The evangelist was a dynamic personality with as many personal faults as she had professional triumphs. Her story is a tough one to tell.

At more than one time during the musical, the actors feel rushed as they run through the chapter headings of McPherson’s life. This breakneck speed gives much of the evening a montage feel, as if we’re only skimming the surface. When the inevitable climax comes and the characters begin to see the error of their ways, we’re left feeling empty and wanting more.

Still, there’s Carmello. The actress believes in the material with such vigor that she wins over several converts by the musical’s end.

Gifford’s contribution is serviceable (she might want to hold onto that day job), but not memorable. David Armstrong directs the cast around two sets of stairs that bookend the entire stage. Their constant appearance grows annoying after the first few songs, and McPherson’s large Los Angeles church looks like Superman’s Fortress of Solitude. Lorin Latarro’s choreography is too simplistic and reserved, essentially a discordant waving of hands and exaggerated gestures.

In addition to Carmello’s performance, Edward Watts sings beautifully in two key roles, while Roz Ryan pumps the life-less material with some much-needed humor. George Hearn’s two-character performance is largely wasted. Candy Buckley can’t keep up with Carmello’s masterful singing.

Scandalous will soon be remembered as that “Kathie Lee Gifford musical” that closed rather quickly on Broadway. But it should always be remembered as that musical vehicle where a select few were able to hear the great, great Carolee Carmello in all her singing splendor.

By John Soltes / Publisher / John@HollywoodSoapbox.com

• Scandalous: The Life and Trials of Aimee Semple McPherson

• Book, lyrics and additional music by Kathie Lee Gifford

• Music by David Pomeranz and David Friedman

• Directed by David Armstrong

• Starring Carolee Carmello, Candy Buckley, Edward Watts, Roz Ryan and George Hearn

• Running time: 150 minutes with one 15-minute intermission

• Currently playing at the Neil Simon Theatre at 250 W. 52nd St. in New York City. Click here for more information.

• Rating: