You’d think entering into a marital arrangement with a Hollywood biggie like Tom Cruise would enhance your career a whole lot.
But Katie Holmes didn’t have a smooth flight on the spaceship, partly because she took time off and also dropped out of The Dark Knight due to scheduling conflicts, to name just two of several reasons she didn’t explode.
And what she was left with in the last few years has been stuff like the tepid remake of Don’t Be Afraid of the Dark and the agreed-upon worst movie of 2011 (Jack and Jill).
She also costarred in The Kennedys, which History Channel found too problematic to air, leaving it to Reelz to give it a home.
(True, it was pretty well received and got four Emmys. Katie wasn’t nominated.)
So now, as you know, she’s coming back to Broadway–in Theresa Rebeck‘s play Dead Accounts.
My feeling is that Katie doesn’t nab top movie scripts. Producers know that few people pay money for a film ticket because they read about someone in the gossip pages.
But on Broadway–where Katie attracted crowds in 2008’s All My Sons revival–tourists flock to see celebrities they know from The Enquirer in the flesh.
They can tell the folks back home about how they looked, and they might even be able to show off a Playbill with said tabloid star’s autograph on it.
Booking Katie is a slightly more upscale version of that old standby–stunt casting.
But don’t cry for her.
Broadway stardom is hardly something to be ashamed of.
And way more insiders will be rooting for her this time than last time.
Break a nail, hon.