a theatre, film & pop culture review
I could say something positive and insightful like, “seeing bad theatre makes me really appreciate great theatre” or “from experiencing the bad, we learn ways to improve ourselves and our work.”
No, instead I’ll say this: I love awful theatre because it’s a damn good time. Sometimes theatre is just so bad that it’s good, in a magically amazing, highly enjoyable way. Sometimes it’s the production that’s so bad, it’s good. Sometimes it’s the acting (Matthew Broderick, Nice Work If You Can Get It). Sometimes it’s the play (End of the Rainbow). Sometimes it’s everything (Tarzan, The Little Mermaid, Spider-Man, Ghost The Musical, what the revival of Carrie should have been).
This last category is the most delightful of all, especially when you know in advance what you’re getting yourself into, and plan (drink) accordingly. It is what every piece of bad theatre should aspire to, yet oftentimes falls painfully short of (Catch Me If You Can). It is what I hope Kathie Lee Gifford’s Scandalous will be when I see it tomorrow (after a few stiff cocktails), it is what I dreamt Rebecca would have been had she ever made it to the Broadway in her full Hungarian, pyrotechnic gloriousness (may she rest in peace).
I am forever thankful for bad theatre (and the alcohol that gets me through it).
For more info about 20 Days of Thanks, go here.