Issue link: https://digital.copcomm.com/i/1433736
room, as well as their studio audience on risers for their iconic entrances through the audience. There are no stages in Charlotte. So we started scouting warehouses, facing the usual warehouse obstacles—too small, too many supports, tin roofs accentuating the rain. We scouted old factories. At one point, we even considered converting a shuttered multitiered strip club, but when the leopard carpet started swimming before our eyes (cockroaches!), we abandoned that idea and dashed. We finally settled on a warehouse where the existing columns could be worked into the set with a few tweaks. Like their house, the sets needed to be an amalgamation of all their shows. It needed to meet the needs of the script and help tell their story. The Art Department used the most iconic images— Jim's love of late-night talk shows, the blue tones seen in his first show, The 700 Club, Tammy's House Party set and their infamous telethon phone banks populated by the iconic blue phones Jim Bakker fashioned himself quite the talk- show host and was very impressed by the late- night hosts, particularly Johnny Carson. His set resembled that format, host desk, guest chairs and a small band. Tammy's set was based on her real-life segment Tammy's House Party with her hacienda-style house facade backdrop to fully dressed banquet tables where "lucky" audience members could sit while Tammy walked through, singing, praying and saying hello. Fully dressed A B C D