Manipulation and Showmanship in Evangelism

Where it surfaces

• Elmer Gantry

  Elmer's early use of charm and rhetoric to influence others foreshadows his later career as a manipulative preacher.

• Chapter I

  Eddie Fislinger uses Elmer's accidental defense of the meeting as a 'testimony' to pressure him into conversion.

• I

  Elmer's sonorous voice and theatrical drunkenness prefigure his later skills as a charismatic performer and manipulator.

• III

  Elmer's tactics—threatening opponents, controlling nominations, and using his athletic fame—foreshadow the manipulative showmanship he will later employ as an evangelist.

• V

  Elmer's learned confidence and emotional manipulation of Juanita foreshadow his later skills in charismatic persuasion.

• Chapter VI

  Eddie Fislinger uses Elmer's violent intervention as a testimonial to manipulate the crowd and pressure Elmer into conversion.

• Chapter II

  Eddie Fislinger and other students use intense prayer meetings and emotional pressure to manipulate Elmer into conversion.

• I

  Eddie Fislinger's orchestrated prayer meetings and the community's theatrical efforts to secure Elmer's soul reflect the performative and coercive nature of revivalism.

• II

  Eddie Fislinger's confident diagnosis of Elmer's spiritual state and his use of religious language to influence Mrs. Gantry.

• Chapter III

  Elmer's rapid conversion of another person and his focus on the crowd's reaction highlight the performative and manipulative aspects of revivalism.

• I

  Judson Roberts uses flattery, physical challenges, and psychological pressure to convert Elmer, exemplifying the manipulative tactics of revivalist evangelism.

• II

  Mrs. Gantry's emotional manipulation and the pressure to attend the revival highlight the coercive tactics used in evangelistic settings.

• III

  Judson Roberts uses athletic imagery, emotional appeals, and personal pressure to manipulate Elmer into a public conversion, demonstrating the theatrical techniques of revivalist preachers.

• IV

  Elmer focuses on voice and performance rather than genuine faith, and is pressured by President Quarles to perform publicly.

• V

  Elmer's preparation and dismissal of Jim's request highlight the performative and manipulative aspects of his evangelistic approach.

• VI

  Elmer's performance is a calculated display of borrowed ideas and theatrical delivery, revealing the showmanship behind his conversion.

• Chapter IV

  Elmer fabricates a divine Call after drinking, performing a dramatic declaration to satisfy the expectations of the prayer group, highlighting the performative nature of religious experience.

• Chapter II

  Elmer uses oratory and emotional manipulation to convince the faculty of his Call, highlighting the performative aspects of evangelical leadership.

• Chapter V: Ordination

  Elmer's dramatic kneeling during ordination and his polished use of theological jargon demonstrate his showmanship and ability to manipulate perception.

• I

  Elmer's mastery of stock phrases and theatrical delivery for manipulating audiences and collections.

• II

  Elmer uses his physical presence, booming voice, and superficial knowledge of theological terms to impress the congregation and clergy.

• Chapter VI

  Elmer Gantry advocates for using brute force, jokes, and startling topics to manipulate congregations, while Horace Carp values beautiful voices and poetry for emotional effect.

• I

  Elmer Gantry advocates using physical strength, jokes, and scare tactics to manipulate congregations, while Horace Carp values a beautiful voice for emotional appeal.

• Chapter VII

  Elmer crafts his sermons to impress the congregation and manipulate Lulu's perception of him as both a prophet and a desirable man.

• II

  Elmer uses theatrical gestures, a fabricated deathbed story, and calculated charm to win over the congregation.

• III

  Elmer uses his clerical role and prayer to manipulate Lulu's perception of him, blending religious performance with personal seduction.

• IV

  Elmer's smooth talk and feigned piety are tools to isolate and seduce Lulu, showcasing his manipulative skills.

• VII

  Elmer uses storytelling, singing, and flattery to manipulate the Bains family and create an opportunity to be alone with Lulu, showcasing his performative skills.

• Chapter VIII

  Elmer stages a performance of hurt and vulnerability to draw Lulu into intimacy, demonstrating his skill in emotional manipulation.

• IX

  Elmer uses his charm and fabricated stories of his 'campaigns for righteousness' to manipulate the Bains family and pursue Lulu.

• I

  Elmer practices pulpit oratory and learns practical tips for fundraising and avoiding scandal, treating ministry as a performance.

• V

  Elmer manipulates Dean Trosper by feigning concern for faith, using the situation to advance his own standing.

• Chapter IX

  Elmer orchestrates a complex scheme to trap Lulu and Floyd, using his charm and authority to control the situation and avoid personal responsibility.

• I

  Elmer uses his evangelistic triumph and accusations to force Frank's resignation, demonstrating his manipulative skills.

• II

  Elmer manipulates Lulu's emotions and his own narrative to avoid responsibility, viewing her as a distraction from his 'man's work.'

• Chapter III

  Elmer performs righteous indignation and threatens suicide to manipulate Lulu, treating their relationship as a performance to protect his reputation.

• V

  Elmer skillfully manipulates Deacon Bains and Floyd Naylor with charm and a winning smile, then consoles Lulu with condescension to secure her compliance.

• VII

  Elmer's calculated seduction of Floyd and Lulu, including the use of art photographs and staged discovery, demonstrates his showmanship and manipulative tactics.

• Chapter X

  Elmer uses his oratorical skills to perform a burlesque sermon for the salesmen, demonstrating his showmanship and ability to manipulate his audience for personal enjoyment.

• I

  Elmer manipulates his own emotions and fabricates a story to manipulate Dean Trosper, demonstrating showmanship in managing his religious career.

• II

  Elmer plans a sensational Easter sermon on love, deliberately avoiding repentance to avoid offending a wealthy deacon, showing his manipulative approach.

• III

  Elmer's burlesque sermon demonstrates his natural showmanship and ability to manipulate an audience, foreshadowing his later evangelistic career.

• Chapter XI

  Elmer's speech is crafted with structure and emotional manipulation, and Sharon Falconer's revival meeting is a theatrical performance designed to captivate the audience.

• I

  Sharon Falconer's revival meeting is described as a 'circus layout' with theatrical staging, and Elmer views it as a performance to be critiqued and exploited.

• II

  Elmer uses a fabricated story and calculated charm to manipulate Sharon's sympathy, while the evangelistic troupe is portrayed as a theatrical group with distinct on-stage and off-stage personas.

• III

  Elmer and Sharon conspire to fabricate a conversion story for Elmer's testimonial, highlighting the performative and manipulative aspects of revivalist evangelism.

• IV

  Cecil Aylston teaches Sharon Falconer to control her emotional delivery and refine her performance for maximum impact.

• V

  Elmer's delight in his own promotional poster and his advocacy for 'old-fashioned hell' highlight the performative and manipulative aspects of evangelism.

• Chapter VI

  Elmer's speech is a calculated performance with structured parts, emotional anecdotes, and a call for public response, demonstrating the theatricality of revivalist preaching.

• Chapter XII

  Sharon orchestrates a theatrical ritual to bind Elmer to her, using costume, incense, and a blend of religious symbols to create awe and submission.

• I

  Sharon Falconer admits to using borrowed sermons and theatrical presentation to maintain her ministry.

• II

  Elmer internally acknowledges the 'evangelistic bunk' and 'holy monkey-shines' but decides to continue the charade to keep Sharon.

• III

  Sharon's confession of fabricating her identity and her theatrical bedroom ritual underscore the performative and deceptive nature of her evangelistic career.

• IV

  Sharon Falconer admits she refuses marriage partly because male converts come in better if they know she is not married, revealing a calculated use of her single status for evangelistic gain.

• Chapter XIII

  Elmer invents the 'Hallelujah Yell' and hires fake converts; the crew uses psychological tactics to generate emotional responses and conversions.

• I

  Elmer urges Sharon to adopt circus-like advertising and denunciatory preaching, treating evangelism as a performance to attract larger audiences.

• II

  Elmer and the press-agent use intimidation and high-pressure sales tactics to secure contracts for Sharon's revival meetings.

• III

  Sharon Falconer uses emotional manipulation and theatrical tactics to sway the local committee, while the advance-man orchestrates publicity to build anticipation.

• IV

  Elmer and Adelbert use psychological tactics—fear, embarrassment, and crowd energy—to manipulate audiences into conversion.

• V

  Elmer hires fake converts and pays off troublemakers to maintain the illusion of a successful revival.

• VI

  Sharon relishes the miraculous phenomena as demonstrations of her talent, suggesting a performative aspect to the revival meetings.

• VII

  The crew's deliberate planning of costumes and sermons to maximize Sharon's dramatic impact and appeal.

• Chapter XIV

  Elmer and Dr. Binch discuss manipulative techniques to force conversions, such as having people stand up instead of raising hands.

• I

  Sharon's private rebellion against her public role as a faith healer and evangelist reveals the performative and manipulative nature of her ministry.

• II

  Sharon's financial success and her vague promises to Elmer illustrate the manipulative and commercial aspects of their evangelistic work.

• III

  Sharon and Elmer manipulate Adelbert's loyalty through flattery to avoid scandal, showcasing the performative and strategic nature of their evangelistic operation.

• Chapter IV

  Elmer and Sharon manipulate the rental system to cut costs, demonstrating showmanship in managing their public image.

• V

  The crew's behavior mirrors that of actors, and Sharon's purchase of a phonograph with dance records and hymns highlights the blend of entertainment and ministry.

• VI

  The characters openly discuss tactics like using lively hymns, gradual altar calls, and counting converts to maximize impact, revealing the performative nature of their ministry.

• Chapter XV

  Sharon's theatrical tabernacle and Elmer's calculated flirtation with Lily highlight the performative and manipulative aspects of their ministry.

• I

  Elmer and Sharon orchestrate healing services for profit and publicity, including buying crutches to decorate the altar.

• II

  Sharon's tabernacle with its electric cross and choir is a carefully staged production, and Elmer's attempt to manipulate her into letting him 'boss the show' highlights the power dynamics and showmanship behind the ministry.

• Chapter III

  Elmer employs flattery and feigned concern for the choir program as a pretext for his predatory advances, demonstrating the manipulative tactics used in the revivalist setting.

• IV

  Elmer uses theatrical lies and emotional manipulation to regain Sharon's trust, demonstrating the performative nature of his relationships.

• V

  Sharon's dramatic sermon, use of symbols like the crystal cross, and the theatrical staging of the crusade illustrate the showmanship and manipulation inherent in her evangelistic methods.

• Chapter XVI

  Elmer cynically uses New Thought jargon and theatrical techniques to manipulate audiences, knowing his teachings are 'pure and uncontaminated bunk.'

• I

  Mrs. Riddle's blend of spiritual teachings, self-help, and commercial enterprise illustrates the showmanship and manipulation inherent in her ministry.

• II

  Elmer's oratory and use of meaningless phrases like 'soul-breathing' and 'concentration' to captivate audiences demonstrate showmanship over substance.

• III

  Elmer advertises himself like a product, uses stolen phrases, and employs religious-like incantations to attract followers.

• Chapter XVIII

  Elmer skillfully flatters Bishop Toomis and presents a reformed image to secure a position in the Methodist Church.

• I

  Elmer uses flattery and calculated humility to ingratiate himself with Bishop Toomis, masking his true motives of self-advancement.

• III

  Elmer's calculated charm and the bishop's self-aggrandizing storytelling illustrate the performative and manipulative aspects of religious leadership.

• V

  Elmer views his pastoral work as a performance, comparing himself to an actor who enjoys the details of the profession, and uses his clippings and charm to negotiate with Bishop Toomis.

• Chapter XX

  Elmer uses charisma and theatricality in his first sermon to captivate the congregation, emphasizing performance over substance.

• I

  Elmer's acquisition of books on increasing collections and placating deacons shows a manipulative, showmanship approach to ministry.

• II

  Elmer consciously acts the role of the preacher, using histrionic instinct and vocal power to sway the congregation.

• IV

  Elmer uses theatrical techniques, upbeat music, and a fabricated conversion story to captivate the audience and boost attendance.

• V

  Elmer's deliberate targeting of skeptics and his theatrical preaching style demonstrate the performative and manipulative aspects of evangelism.

• VI

  Elmer consciously employs a 'technique as a Professional Good Man,' manipulating his congregation's perception to secure both influence and income.

• Chapter VIII

  Elmer deliberately invents 'stunts' to attract crowds, showing his calculated approach to religious leadership.

• Elmer's Literary Pursuits

  Elmer's literary pretensions are a performance to assert superiority over Clyde Tippey and to craft a persona of intellectual depth.

• XII

  Elmer uses enthusiasm and brass to raise funds and perform for his congregation.

• Chapter XXI

  Elmer uses revival meetings and emotional funeral oratory to enhance his reputation and control his congregation.

• II

  Elmer uses charm and feigned passion to manipulate Cleo's emotions, reflecting his showmanship.

• IV

  Elmer's calculated shift from anger to feigned magnanimity reveals his manipulative nature, treating personal relationships as performances to be managed.

• Chapter VI

  Elmer uses advertising and dramatic revival tactics to manipulate the congregation, viewing religion as a product to be sold.

• VII

  Elmer's dramatic performance at the funeral—his eyes almost filled with tears, his confident words—demonstrates his skill in manipulating emotions for effect.

• Chapter XXII

  Elmer uses sensational advertising, theatrical sermons, and media manipulation to attract crowds and gain fame.

• II

  Elmer uses sensational advertising and theatrical sermons to attract congregants and donations.

• III

  Elmer uses his pulpit and public appearances to manipulate public opinion, even staging a physical confrontation to boost his image.

• Chapter XXIII

  Elmer dresses like an actor, advertises spicy sermon topics, and tips off reporters to build his reputation, highlighting showmanship in ministry.

• Chapter II

  Elmer and Rigg strategize about sermon topics, with Rigg advocating for a 'good juicy vice sermon' to draw crowds, treating preaching as a performance to manipulate the congregation.

• III

  Elmer uses advertising, staged investigations, and dramatic rhetoric to attract crowds and create a moral panic.

• VI

  Elmer treats Sunday services as a theatrical first night, struggling to maintain the performance of urging sinners forward and suppressing his true feelings.

• VII

  Elmer plans to combine the appealing features of his rivals—elevation, safety, and sensational vice-fighting—to attract crowds and build his reputation.

• I

  Elmer plans to use Wallace Umstead's Y.M.C.A. position for his own publicity, showing his strategic manipulation of religious connections.

• Chapter XXV

  Elmer manipulates his congregation's perception, using charm and selective honesty to maintain his reputation.

• Chapter II

  Elmer performs a forgiving, noble persona in public while privately scheming to rekindle his relationship with Lulu.

• Chapter XXVI

  Elmer uses entertainment, contests, and stunts like a wrecked car to attract crowds and moralize, demonstrating his showmanship.

• Lively Sunday Evenings and the Art of Publicity

  Elmer's Lively Sunday Evenings are a calculated blend of entertainment and moralizing to attract crowds and maintain control.

• Chapter II

  Elmer's genius for fundraising by demanding money from the congregation and his aggressive methods of dragging in the public exemplify showmanship and manipulation.

• Chapter III

  Elmer uses the committee as a platform for self-promotion and plans a sensational vice crusade.

• IV

  Elmer orchestrates newspaper coverage and a staged raid to build his reputation without taking genuine risks.

• V

  Elmer stages a dramatic public spectacle with police salutes, cameras, and a cheering crowd, manipulating public perception to bolster his image as a modern Savonarola.

• Chapter VI

  Elmer uses dramatic gestures and Biblical language to perform a moral crusade, manipulating the situation for public effect.

• VII

  Elmer stages a dramatic arrest for publicity, as noted by Bill Kingdom's cynical commentary.

• VIII

  Elmer uses the raid to bolster his public image as a hero and leader.

• Chapter XXVII

  Elmer deliberately mixes vaudeville with hellfire sermons to maintain interest and dignity, manipulating his audience.

• II

  Elmer views the Chautauqua as an opportunity for fame and money, and prepares by borrowing inspirational essays from the library, highlighting the performative and manufactured nature of his ministry.

• III

  Elmer crafts a deliberately ambiguous statement on the K.K.K. to please both sides, demonstrating his skill in rhetorical manipulation.

• Chapter XXIX

  Elmer uses his public platform and personal charm to sway William Dollinger Styles and discredit Frank.

• I

  Elmer plans to use Frank's sermons as a tool for publicity and to discredit a rival.

• Chapter II

  Elmer orchestrates a campaign to discredit Frank, using flattery and pressure to sway Deacon Styles into arranging a public confrontation.

• Chapter VI

  Elmer orchestrates a campaign to recruit Styles, demonstrating the strategic use of persuasion and false modesty.

• Chapter XXX

  Elmer uses fabricated stories and theatrical preaching to impress audiences, and he skillfully negotiates with Dr. Dodd for personal gain.

• IV

  Elmer uses the new medium of radio to dramatically increase his reach, showcasing his showmanship and ability to manipulate mass audiences with his preaching style.

• VII

  Elmer performs a role of a friendly, helpful pastor, but his showmanship is transparent and off-putting to the sophisticated couple.

• XI

  Elmer deliberately discards his planned poetic sermon to adopt a roughneck persona, crafting a story to manipulate his audience's perception.

• XIV

  J. E. North manipulates Elmer by appealing to his vanity and ambition, framing moral crusading as a platform for personal gain.

• XVI

  Elmer uses dramatic storytelling and emotional appeals to manipulate his audience, showcasing the performative nature of his evangelism.

• III

  Elmer's internal reaction to Hettie ('Say, you’re a kid I’d like to get acquainted with!') contrasts with his pious public demeanor, highlighting his manipulative showmanship.

• IV

  Hettie helps Elmer craft a celebrated sermon and manages influential figures, demonstrating the calculated performance behind his ministry.

• V

  Elmer stages a dramatic, priestly performance to guilt Lulu into submission, showcasing his manipulative showmanship.

• Chapter VI

  Elmer uses intimidation and public pressure to achieve his goals, demonstrating his skill in manipulation.

• Chapter XXXII

  Hettie and Oscar's calculated scheme to blackmail Elmer mirrors the manipulative tactics often used in evangelistic circles.

• II

  Hettie and Oscar's elaborate scheme to blackmail Elmer mirrors the manipulative tactics seen in evangelistic showmanship.

• Chapter III

  Rigg's pragmatic advice to stall and manage the scandal reflects the manipulative tactics used to maintain appearances.

• IV

  Rigg's manipulation of the situation through detectives and negotiation demonstrates the showmanship and deceit behind the evangelical facade.

• VI

  Bill Kingdom manipulates a drunken Mannie Silverhorn into revealing his case, showing how manipulation pervades both legal and religious circles.

• Chapter XXXIII

  Elmer and T. J. Rigg manipulate the scandal by forcing a false confession and staging a public display of repentance and vindication.

• I

  The public scandal and legal threat suggest manipulation and showmanship in managing public image and personal affairs.

• III

  Rigg orchestrates a theatrical confession, complete with a prayer scene, to manipulate public perception and protect Elmer's reputation.

• IV

  Hettie's confession is used as a public relations tool to restore Elmer's reputation and advance his career.

• VI

  Elmer orchestrates an emotional scene of kneeling and sobbing, manipulating the congregation's response to secure his position and advance his moral agenda.