The irony surrounding the production of director and playwright Chris Voltaire’s new Octomom: The Musical is so thick you could swaddle octuplets with it. His musical about the rise to fame of Octomom Nadya Suleman is framed as criticism of our national fascination with celebrity and craziness. Apparently, no one told him that producing media to criticize a media obsession only creates more media to feed that obsession. On top of that, Voltaire has to know that just having “Octomom” in the title of his show is going to snag attention, which means his show is riding the coat tails of the very celebrity it’s critiquing.
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