In the whimsical world of modern politics, it seems Hillary Clinton has taken a detour to Broadway, feeling the irresistible pull of the spotlight. In an attempt to engage in something a little different before diving back into the political fray for the 2024 election, she’s traded the campaign trail for the glitzy stages of New York. Her weapon of choice? An all-singing, all-dancing musical about women’s suffrage. Now, while musicals about inspirational things sound thrilling, perhaps the execution left much to be desired, leaving some wondering if the energy might be better spent elsewhere—like back on the political battlefield, for instance.
During a performance of “Some Like It Hot,” attended by none other than Hillary and Chelsea Clinton, an unexpected visitor—ahem, of the unwanted sort—made an appearance in the theater aisle. The “serial pooper” became an uninvited star of the show, leaving theatergoers with an experience they’d likely never forget, though probably wish they could. Such mishaps, one might jest, are a tragic testament to the turmoil that can arise when the highbrow world of politics mingles too closely with the theatrical glitz of Broadway.
Speaking of theatrical performances, let’s turn our gaze to Kamala Harris, who caught Broadway fever herself. She recently baffled and bemused the cast of a Louis Armstrong musical with her signature brand of verbal gymnastics. While her speech was intended to inspire, it seems to have delivered more of a word salad than a motivational masterpiece. Ever-patient Emhoff, Kamala’s husband, silently expressed what many in the audience were feeling: a longing for simpler, less bewildering times.
However, there was no shortage of amused theatergoers finding themselves nodding along to the befuddling yet strangely compelling performance of verbal acrobatics. A sea of nodding theater kids—those familiar psychology majors turned political actors—hung on every incongruous word. They dutifully reinforced the notion that, indeed, her creative yet mystifying ruminations are not lost on everyone.
In this rollercoaster ride through political showmanship and Broadway antics, the juxtaposition of politicians dipping their toes into theater land is as amusing as it is perplexing. It’s a performance that leaves everyone wondering if this crossover is genuine passion or simply a respite from political drudgery. While these political figures may not be winning over any Tony Awards, they certainly ensure that laughter resonates through the hallowed halls of political commentary, reminding us that politics, like theater, is all about spectacle.
