May 20, 2024

The news these days is too often bad. There is domestic unrest all over the United States; the Middle East is once again aflame, and Russia and China both are growing more bellicose by the day. Gas and grocery prices are up, interest rates are up, wages are stagnant, and it’s raining out.

Now and then, though, a news item comes along that just makes one grin. In one such, we read today that Her Imperial Majesty Hillary I, Dowager-Empress of Chappaqua, has produced a Broadway play about the early 20th-century suffragette movement, called “Suffs” – and it’s absolutely bombing:

The Broadway box office numbers for the week of May 5 revealed that Hillary Clinton-produced stage play “Suffs” is on the bottom rung of shows in terms of filling capacity.

Broadway Theatre Industry official site “The Broadway League” shared the weekly grosses from the 35 shows currently playing on Broadway, which include “Suffs,” “Harry Potter and The Cursed Child,” and classics like “Romeo & Juliet,” Sweeney Tod” and “Moulin Rouge! The Musical.”

According to the data, Clinton’s play only reached 81% capacity across eight performances that week, placing it among the bottom eight productions in that category – the bottom 23% of all 35 shows for the week.


BACKGROUND: The Antithesis of Empowerment: Insufferable Feminism in Hillary Clinton’s Broadway Musical ‘Suffs’


It’s bombing against such competition as “Romeo & Juliet,” Shakespeare’s absolute worst work. A tale of women’s suffrage advocates can’t compete with two emo teenagers making a suicide pact? But further on, the article presents some hints as to why that might be the case:

The three-hour-long play brings the women’s suffrage movement of the early 1900s to the stage. According to the show’s website, Suffs “boldly explores the victories and failures of a struggle for equality that’s far from over.”

The play features an “entirely female and non-binary cast – among them Tony winner Nikki M. James, Jenn Colella, Emily Skinner, and Grace McLean as President Woodrow Wilson,” according to Playbill.com.

Clinton stated she relates to “all of” the characters in the play, telling the Associated Press last month she knows “how hard it is to make change.”

That’s one heck of an onion to peel, but I’ll give it a shot.

First, I absolutely loathe this trend of artificially truncating words. “Suffs,” really? That’s just stupid and childish. Call it “Suffragettes,” or “Votes for Women,” or anything besides this moronic “Suffs” nonsense.

Second, what “struggle for equality?” I’m waiting for the narrator to pop in and say, “The struggle for equality is over.” How long have women had the vote for? Oh, and the first state to allow women to vote? Deep-red Wyoming. (New Jersey had technically passed women’s suffrage earlier but repealed it.)

Third – the women’s suffrage movement was in the late 19th and early 20th centuries. How many “non-binary” people were out and about in those years? I’m guessing none, or so close to none as to make no difference.

Her Imperial Majesty really hatched a grenade this time.


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While I haven’t (and won’t) see it (I’d rather watch grass grow), this play smacks of a production narrowly aimed at the terminally woke, and I would bet money that it’s a crashing bore – much like Hillary I herself. Overtly political productions, be they on stage or big or small screens, tend to be boring, regardless of what angle they take, and anything produced by what I can only presume is the horrifyingly micromanaging Hillary has to be boredom cubed. Add that to the fact that this is crashing and burning in New York – the same city that is giving us the uber-woke idjits waving “Queers for Palestine” signs – then this has to be a Guinness Book of World Records-level dud.

This is just schadenfreude-alicious.

This seems appropriate.