IT’S the most infamous musical flop in Broad way history, and only a couple of supremely confident (bordering on cocky) producers would be bold enough to bring it back.

“Carrie” ran five performances on Broadway in 1988, but those who saw it can never forget it.

It set a new standard on Broadway for camp awfulness. As Ken Mandelbaum notes in his indispensable book “Not Since ‘Carrie’: 40 Years of Musical Flops,” it seemed as if every fiasco in theatrical history “was piled high, and ‘Carrie’ was playing on top of them all.”

The confident producers attempting to resurrect it are Jeffrey Seller and Kevin McCollum, whose enviable track record includes “Rent,” “Avenue Q” and “West Side Story.”

Next month, they’re producing a six-figure workshop of the musical, based on Stephen King‘s 1974 thriller about a teenage girl with telekinetic powers.

The title role hasn’t been cast yet; the hunt is also on for Carrie’s scary,

Bible-thumping Mama.

But I hear Tony winner Marin Mazzie will play the sexy gym teacher.

Is this project a fool’s errand?

“Carrie” lost $8 million in 1988, the most expensive Broadway disaster at the time.

(Times have changed. The chuckleheads trying to get “Spider-Man” off the ground have probably spent $8 million on the poster.)

Some on Broadway think ego may have gotten the better of Seller and McCollum.

After all, if they can take the greatest flop of all time and make something of it, they may in fact be the best producers since Ziegfeld.

I called McCollum but didn’t hear back from him; apparently, he’s smarting about my jab last week at his holiday fructose fest, “White Christmas” — ick!

But these guys aren’t stupid, and they may be onto something.

“Carrie” was bad. But some of it, especially the score, was pretty thrilling, those who saw it say.

Notes Mandelbaum: “What makes ‘Carrie’ unique is its combination of soaring, often breathtaking sequences and some of the most appalling and ridiculous scenes ever seen in a musical.”

In the ridiculous camp were the sets (a high school gym that looked like a Greek temple) and the costumes (teenagers in white togas).

Why the Greek look for a show set in a small American town?

Fran Weissler, who produced the original, tells the story that when she met with British director Terry Hands, then riding high at the Royal Shakespeare Company, she told him the dance at the gym should play like “Grease.”

He came back a few days later with sketches of people in togas wandering around the Ancient Agora of Athens.

(True story.)

Despite the confusion, he became wedded to the idea of “Carrie” as a Greek tragedy.

Years later, he said: “I made some mistakes with the show. I thought it was a Greek tragedy. I was wrong. It was a Roman tragedy.”

(Only somebody who ran the RSC could come up with that.)

Also in the ridiculous camp was a would-be showstopper called “Out for Blood,” featuring boys in leather slaughtering pigs.

(“It’s a simple little gig/You help me kill a pig.”)

And the ending was a doozy, with Betty Buckley, as the mother, lying dead on a big white “stairway to heaven,” and Linzi Hateley (Carrie), drenched in blood, dropping dead beside her.

“The lights went out, and the audience booed,” Buckley once told me. “Linzi said, ‘What do we do?’ I said, ‘Get up and bow.’ We did, and they stood up and cheered.”

But there were also moments of great theatricality and some soaring, haunting ballads. (You can see Buckley singing a good one — “When There’s No One” — at nypost.com.)

For the upcoming reading, the writers — Michael Gore, Dean Pitchford and Lawrence D. Cohen — are revising the book and the score.

How is a retooled “Carrie” going to play?

Who the hell knows?

But I can tell you that if McCollum lets me into the workshop, my new favorite Broadway show is going to be “White Christmas.”

‘CARRIE” got one de cent review, from The Post’s Clive Barnes (the man knew a good score when he heard one).

Clive died just a year ago, and his friends and colleagues are going to remember him at a tribute Monday. The event, which starts at 3 p.m. at Lincoln Center’s Walter Reade Theater, is open to the public. Seating is limited.

Speakers include Edward Albee, John Simon, Paul Taylor, Anna Kisselgoff and John Cullum. I’m hosting.

Clive was a delight, and we’re going to have some fun in his honor.

michael.riedel@nypost.com

