There is no worse show on Broadway than “Head over Heels.” The bafflingly awful musical features the music of the 80s girls group the Go Gos. But the show is just plain wretched, with no redeeming qualities.

And yet, after several months since a mid summer opening, “Head Over Heels” plays on. It is not a hit, in a big way. Last week it played to just 38% capacity and took in just $185,775.50 in ticket sales. The show’s potential sold out week would be $883,552. They were down from the prior week by almost $20,000.

“Head Over Heels” has a cast, and an orchestra. They have stage hands. Everyone must be paid. But at this point, I have to ask– who is paying them? And from what?

When the musical opened, that very night, at intermission, we were all doing satires of “The Producers.” The show was so bad, it had to close. No one could imagine it dragging on for weeks like a stuffed corpse.

“Head Over Heels” is playing at the Hudson Theater on West 44th st. owned and operated by the Ambassador Theater Group. There’s been speculation that ATG is just keeping the show running out of pride. Or hubris. But why pour good money after bad?

The individual producers are many but the first ones listed are Christine Russell, whose only other investment is in “Beautiful: the Carole King Musical.” The second investor is the very wealthy museum and arts patron Louise Gund, a dabbler at best. Donovan Leitch, the model and entrepreneur, and son of 60s folk singer Donovan, is next along with his pal Gwyneth Paltrow. They likely invested very little but are there for the name value.

There are more, plenty more names. Do any of these people know how to read a spread sheet? Is there a scandal brewing? If anyone knows what is going on, and who got the beat, email me at showbiz411@gmail.com.

Kerry Washington is back on Broadway several years after her debut in David Mamet’s “Race.”

She returns as a major TV star from “Scandal,” but let’s not forget she’s already paid her dues and knows live theater. Her performance in “American Son” is non stop, ninety minutes of intense, fearsome rage for a teenage son who’s gone missing.

Kenny Leon directs Kerry, Steven Pasquale, Jeremy Jordan and Eugene Lee in this taut drama where you can guess the ending but don’t want to believe it. Kendra (Kerry)’s son with Scott (Steven Pasquale)– Jamal — is never seen but he’s at the center of the action. Educated in the best private school, Jamal’s parents (black and white) have counted on him not mixing with the wrong crowd in their native Miami and staying out of trouble. Alas, Jamal has been picked up the police with two friends whom the parents don’t know, and now they fear the worst.

Christopher Demos-Brown’s debut play addresses a lot of issues– empowerment, feminism, but most of all racism and what it’s like to be a black teen in America even if you have a white parent. Sort of a companion to the current movie “The Hate U Give,” this play addresses head on by name other black kids who’ve been shot at or killed by the police (Eric Garner, Philandro Castile and Tamir Rice are cited). Knowing that the police will play as the villain, Demos-Brown gives a veteran Black Police Lieutenant played by Eugene Lee who has some opinions worth hearing out.

At 90 minutes without intermission, “American Son” is slight and a little underdeveloped. Without a big star it would have been sent to off Broadway for development. But it’s timely and important, and the actors invest their all. Plus, you get a great set from Derek McLane, Tony level lighting from Peter Kaczorowski, and impressive rain and lightning. “American Son” just runs until mid January, so see it ASAP. It’s certainly a rich season for new plays. (You can get tickets for all of them at the TKTS booth in Times Square without waiting on line– at the special plays window.)