* ''ThePhantomOfTheOpera'', when looked at closely, proves to have a rather idiotic plot. Why does [[TheIngenue Christine]], after finding out that the Phantom is ''not'' the Angel of Music, fall for it ''again?'' Why doesn't Raoul just kill the Phantom when they're in the graveyard? Why don't the owners of the opera house ever investigate this "ghost" to whom they have been paying 20,000 francs per month?
** Thankfully averted by the book on all counts.
** ''Theatre/LoveNeverDies'' is even worse. For starters, nobody thought to tell Gustave "Listen, that guy in the mask? He's very, very, dangerous, he's killed two people that we know about, he tried to kill your father, and if he gets his hands on you he'll hurt you or use you to hurt your parents. So stay close to us at all times and whatever you do, don't go wandering off with the creepy carnival folk, okay?"
* Most of Shakespeare's plays fit this:
** ''RomeoAndJuliet''. The whole tragedy could've been averted had the eponymous characters (and others) bothered to think rationally for a few moments rather than emotionally - [[TropesAreTools it was one of the play's themes.]]
** In ''Othello'', Desdemona probably wouldn't have died if Othello had just flat-out asked her "Were you having an affair with Cassio?" or waiting to point fingers until after Iago brings the "occular proof" that he had asked for. (Assuming Othello would have ''believed'' Desdemona.)
** Shakespeare's ''TheComedyOfErrors''. Antipholus of Syracuse has been looking for his long-lost twin brother, and comes to a town where everyone seems to know him, including someone claiming to be his wife. Somehow, neither he nor anyone else manages to come to the obvious conclusion that this is where his twin has been living. Same with Creator/{{Plautus}}'s ''The Menaechmi'', upon which ''The Comedy of Errors'' is based.
** ''MuchAdoAboutNothing''. Claudio and Don Pedro already know that John is not a nice guy. And as if that weren't enough, Claudio gets taken in by John's claim that Pedro courted Hero before being disabused of the idea. So Claudio and Pedro know that John is trying to spread rumors to break Claudio and Hero up - why do they fall for the plot ''again''?
* In ''Theatre/{{Thirteen}}'', everyone seems to be holding the IdiotBall because they believed Lucy during "it can't be true".
* In Clare Boothe's preface to her play ''TheWomen'', she notes that if Mary, the principal character of her play, were a reasonably intelligent woman, she would quickly have found a different play to be in.
* The opera la Sonnambula, by Bellini. Sure, she's in a compromising position... but it's completely out of character for her.
* It's practically a ''requirement'' that any farce have an IdiotPlot, usually coupled with PoorCommunicationKills.
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