Robin Usher
October 13, 2010
MELBOURNE'S status as Australia's natural home for musical theatre has taken a big leap forward with the decision by English composer Andrew Lloyd Webber to choose it as the home for a new production of his sequel to the world's most successful show, The Phantom of the Opera.
It means the current London production of Love Never Dies will have served as the out-of-town tryout for the revised Melbourne version, to open at the Regent Theatre next May.
''This will be a completely new show,'' Lloyd Webber said via video link from London yesterday to a media conference in Parliament House's Queen's Hall. ''Melbourne is the place I have chosen to develop this production and there is every chance it could go on to Broadway.''
He added there was also the prospect of touring to Asian capitals, if it worked.
The multimillion-dollar production will have an all-Australian backstage team led by Simon Phillips, the outgoing artistic director of the Melbourne Theatre Company and director of the home-grown international success Priscilla: the Musical, which is about to open in Toronto before a New York season next year.
The choreographer is internationally acclaimed Graeme Murphy and the set and costume designer is award-winning Gabriela Tylesova, who has worked for both the MTC and Opera Australia.
The show opened in London to mixed reviews last March and although it is still doing good business its proposed transfer to New York has been cancelled.
Tourism Minister Tim Holding said it was a coup for Melbourne to attract the show which, if successful, could add more than $40 million to Victoria's economy.
''Over the past four years blockbuster shows such as Wicked, Jersey Boys and Mary Poppins have drawn hundreds of thousands of interstate and overseas visitors to Melbourne,'' he said. ''We worked very hard to bring this show here.''
He said it was a tribute to the strategy adopted by the Victorian Major Events Company to be able to have several large-scale musicals running successfully at the same time.
Auditions for Love Never Dies begin on October 25. Lloyd Webber will be here in January to decide on final casting and will return in April as the production nears completion.
Phillips said from Toronto, where he is finishing rehearsals for the new Priscilla season, that the stakes were high with the new show, but improvements to the story increased the chances for success.
''There are significant changes to the plot,'' he said. ''This makes it shorter with the longueurs chopped and allows the show to cut to the chase.''
The story, by Ben Elton, is set on New York's Coney Island where Lloyd Webber says the Phantom has fled to be ''a freak amongst freaks'' 10 years after the famous chandelier crashed to the floor of the Paris Opera.
He said the character was obviously older but still charismatic with a voice to die for. His love, Christine, is a world-famous soprano in a failing marriage to Raoul. ''She is a marvellous singer but the acting demands are more complex.''
http://www.theage.com.au/entertainment/opera/phantom-success-goes-on-20101012-16hsh.html
Saturday, October 16, 2010
Search for a Phantom of the Opera star
Sally Bennett
From: Herald Sun
October 14, 2010 12:00AM
THE search for the next Phantom has begun.
Love Never Dies, the sequel to Phantom of the Opera, will open at Melbourne's Regent Theatre next May.
The creative team for the all-Australian production is in place, all that's needed now is to find the stars.
Love Never Dies creator Sir Andrew Lloyd Webber said yesterday that all roles were up for grabs and he had no one in mind for the lead yet. "But I know exactly what we need," he said. "He's got to be a really charismatic figure and he's got to have a voice to die for.
"Of course Christine (the female lead) has got to be beautiful ... and she has to be the most marvellous singer."
Nationwide auditions for Love Never Dies, which fast-forwards the Phantom story 10 years, begin on October 25.
Possible candidates to play the Phantom include crooner David Campbell and theatre stars Bobby Fox (Jersey Boys) and Mitchell Butel (Avenue Q).
Female contenders for the lead role of Christine could include opera singers Annette O'Halloran and Taryn Fiebig.
The Australian production of Love Never Dies has a dream creative team in Simon Phillips as director, Graeme Murphy as choreographer and Gabriela Tylesova as set and costume designer.
It will come straight to Melbourne from London, where it made its world premiere in March.
Sir Andrew said he was excited about Phillips directing the show.
"Musical theatre today is international and it's about working with the best people in the best situations," he said in a broadcast from London to Melbourne's Parliament House for yesterday's launch.
"I'm really excited about the possibility of working with very talented people."
Sir Andrew said he would spend a lot of time in Australia from January until the premiere.
http://www.heraldsun.com.au/entertainment/search-for-a-phantom-of-the-opera-star/story-e6frf96f-1225938361783
From: Herald Sun
October 14, 2010 12:00AM
THE search for the next Phantom has begun.
Love Never Dies, the sequel to Phantom of the Opera, will open at Melbourne's Regent Theatre next May.
The creative team for the all-Australian production is in place, all that's needed now is to find the stars.
Love Never Dies creator Sir Andrew Lloyd Webber said yesterday that all roles were up for grabs and he had no one in mind for the lead yet. "But I know exactly what we need," he said. "He's got to be a really charismatic figure and he's got to have a voice to die for.
"Of course Christine (the female lead) has got to be beautiful ... and she has to be the most marvellous singer."
Nationwide auditions for Love Never Dies, which fast-forwards the Phantom story 10 years, begin on October 25.
Possible candidates to play the Phantom include crooner David Campbell and theatre stars Bobby Fox (Jersey Boys) and Mitchell Butel (Avenue Q).
Female contenders for the lead role of Christine could include opera singers Annette O'Halloran and Taryn Fiebig.
The Australian production of Love Never Dies has a dream creative team in Simon Phillips as director, Graeme Murphy as choreographer and Gabriela Tylesova as set and costume designer.
It will come straight to Melbourne from London, where it made its world premiere in March.
Sir Andrew said he was excited about Phillips directing the show.
"Musical theatre today is international and it's about working with the best people in the best situations," he said in a broadcast from London to Melbourne's Parliament House for yesterday's launch.
"I'm really excited about the possibility of working with very talented people."
Sir Andrew said he would spend a lot of time in Australia from January until the premiere.
http://www.heraldsun.com.au/entertainment/search-for-a-phantom-of-the-opera-star/story-e6frf96f-1225938361783
Brand New Australian Production for Love Never Dies
Mebourne has stolen the march on Sydney yet again, with the premiere of another musical blockbuster.
Stage Whispers Editor Neil Litchfield attended the media briefing at the Queen's Hall in Victoria's Parliament House.
Andrew Lloyd Webber today announced, via satellite link from London, that Australia will have an all new production of Love Never Dies, his continuation of the story of The Phantom of the Opera, with a new, Australian creative team.
Simon Phillips will direct the production, which begins previews at Melbourne's Regent Theatre in May 2011. Graeme Murphy will choreograph and the production will have a new design by Gabriela Tylesova.
After a preliminary speech from Victoria's Minister for the Arts Tim Holding listing the numerous sporting and cultural events taking place in Victoria, Lloyd Webber joked about following Tiger Woods into Melbourne with Love Never Dies.
Mr Holding was evasive about the precise amount the Victorian Government has paid to secure the production, but stressed that the flow-on benefits to the Victorian economy from interstate and regional tourism more than justified the outlay.
When host Ray Martin asked Lloyd Webber why Australia and why Melbourne, he replied:
"I have always had a very special relationship with Australia for my musicals. One particularly was Jesus Christ Superstar which, when it opened on Broadway, I was never very happy with. It was only when it came to Australia that it really took off. Of course the London production of Jesus Christ Superstar, directed by Jim Sharman, was based on the Australian one. So when Tim (McFarlane) said to me that Simon Phillips wanted to direct it, I just said, let’s do it."
Martin subsequently asked if Melbourne was going to become the new pre-Broadway, given that clearly there are changes he wants to make before going to New York or Los Angeles.
Lloyd Webber responded.
"No, I think that Melbourne will be the place where we can really finally develop the production I wanted to do. I don’t see it in any sense as an off-Broadway situation, any more than Jesus Christ Superstar, which opened originally in Sydney of course, then became the London production.
"I think today that musical theatre is international, and that it’s about working with the best people in the best possible situations. To think about London and Broadway as where you’re going to do something is out of date now. Some of the best theatre that’s happening around the world now is happening in places that are miles away from London or Broadway, so I’m really excited about the possibility of working with two really talented people. I’m not interested in talking about London or Broadway, just getting the best possible how and the best possible result."
Among Lloyd Webber's many Australian connections, Martin mentioned Ben Elton, now a Perth resident, in connection with the show's book.
"Ben is an old friend of mine," he replied, "and when we were talking about doing the sequel to The Phantom of the Opera, it was Ben who unlocked the story for me. I think the production that we’re going to be doing in Melbourne is going to take the story even further than we did in London. There’s one crucial thing which we’re going to make even more exciting. The whole thing is going to be, for me, like it’s a new show reborn."
All this discussion skirted politely around, yet pointed clearly to, the fact that the show, which received a disappointing critical response to its West End production in March, is undergoing quite a makeover.
Nationwide auditions commence in a fortnight, on Monday October 25, with Andrew Lloyd Webber visiting Australia for the final round of auditions in January, returning in April when the finishing touches are being put on the production. The auditions will follow conventional lines. Despite the success of reality TV auditions for the leads in recent Lloyd Webber West End productions, Australian networks haven't shown any interest.
Asked if there was a chance that if he loved our stars here, he might take them to Broadway, Lloyd Webber replied, “Well we didn’t do too badly with Sunset Boulevard with Hugh Jackman. Artists come from everywhere. That’s the extraordinary thing about today.”
Image: Andrew Lloyd Webber by satellite from London
loveneverdies.com.au/
http://www.stagewhispers.com.au/news/brand-new-australian-production-love-never-dies
Stage Whispers Editor Neil Litchfield attended the media briefing at the Queen's Hall in Victoria's Parliament House.
Andrew Lloyd Webber today announced, via satellite link from London, that Australia will have an all new production of Love Never Dies, his continuation of the story of The Phantom of the Opera, with a new, Australian creative team.
Simon Phillips will direct the production, which begins previews at Melbourne's Regent Theatre in May 2011. Graeme Murphy will choreograph and the production will have a new design by Gabriela Tylesova.
After a preliminary speech from Victoria's Minister for the Arts Tim Holding listing the numerous sporting and cultural events taking place in Victoria, Lloyd Webber joked about following Tiger Woods into Melbourne with Love Never Dies.
Mr Holding was evasive about the precise amount the Victorian Government has paid to secure the production, but stressed that the flow-on benefits to the Victorian economy from interstate and regional tourism more than justified the outlay.
When host Ray Martin asked Lloyd Webber why Australia and why Melbourne, he replied:
"I have always had a very special relationship with Australia for my musicals. One particularly was Jesus Christ Superstar which, when it opened on Broadway, I was never very happy with. It was only when it came to Australia that it really took off. Of course the London production of Jesus Christ Superstar, directed by Jim Sharman, was based on the Australian one. So when Tim (McFarlane) said to me that Simon Phillips wanted to direct it, I just said, let’s do it."
Martin subsequently asked if Melbourne was going to become the new pre-Broadway, given that clearly there are changes he wants to make before going to New York or Los Angeles.
Lloyd Webber responded.
"No, I think that Melbourne will be the place where we can really finally develop the production I wanted to do. I don’t see it in any sense as an off-Broadway situation, any more than Jesus Christ Superstar, which opened originally in Sydney of course, then became the London production.
"I think today that musical theatre is international, and that it’s about working with the best people in the best possible situations. To think about London and Broadway as where you’re going to do something is out of date now. Some of the best theatre that’s happening around the world now is happening in places that are miles away from London or Broadway, so I’m really excited about the possibility of working with two really talented people. I’m not interested in talking about London or Broadway, just getting the best possible how and the best possible result."
Among Lloyd Webber's many Australian connections, Martin mentioned Ben Elton, now a Perth resident, in connection with the show's book.
"Ben is an old friend of mine," he replied, "and when we were talking about doing the sequel to The Phantom of the Opera, it was Ben who unlocked the story for me. I think the production that we’re going to be doing in Melbourne is going to take the story even further than we did in London. There’s one crucial thing which we’re going to make even more exciting. The whole thing is going to be, for me, like it’s a new show reborn."
All this discussion skirted politely around, yet pointed clearly to, the fact that the show, which received a disappointing critical response to its West End production in March, is undergoing quite a makeover.
Nationwide auditions commence in a fortnight, on Monday October 25, with Andrew Lloyd Webber visiting Australia for the final round of auditions in January, returning in April when the finishing touches are being put on the production. The auditions will follow conventional lines. Despite the success of reality TV auditions for the leads in recent Lloyd Webber West End productions, Australian networks haven't shown any interest.
Asked if there was a chance that if he loved our stars here, he might take them to Broadway, Lloyd Webber replied, “Well we didn’t do too badly with Sunset Boulevard with Hugh Jackman. Artists come from everywhere. That’s the extraordinary thing about today.”
Image: Andrew Lloyd Webber by satellite from London
loveneverdies.com.au/
http://www.stagewhispers.com.au/news/brand-new-australian-production-love-never-dies
Monday, September 27, 2010
Dark Knight Of The Soul
Today:
41,290 hits after 4 years precisely!!
Yay!
Edit: Same day as Google's b'day, I never knew that
41,290 hits after 4 years precisely!!
Yay!
Edit: Same day as Google's b'day, I never knew that
Saturday, May 15, 2010
Spider-Man's sticky figures
Costly B'way show may tour big arenas
Last Updated: 5:31 AM, May 14, 2010
Posted: 12:32 AM, May 14, 2010
Michael Riedel
MY favorite $50 mil lion target is swinging back into view.
"Spider-Man: Turn Off the Dark" (and bankrupt the theater) will go into rehearsals this summer, begin previews in October and open in November, theater sources say.
And by January, I bet it'll be the biggest financial disaster in Broadway history.
But I'm getting ahead of myself.
First the news: Patrick Page has been offered the role of the Green Goblin. He'll replace Alan Cumming, who withdrew from the production a few weeks ago, citing scheduling conflicts.
Page is an old hand at being green and mean. He created the title role in "Dr. Seuss' How the Grinch Stole Christmas."
Director Julie Taymor spent the week auditioning actresses to play Mary Jane. Taymor's first choice, Evan Rachel Wood, withdrew from the production last year, also because of "scheduling conflicts."
Cute little Reeve Carney is still on board as Spider-Man. I guess he's the only original cast member with nothing better to do.
As for the money, it is, believe it or not, in place. Michael Cohl, who was brought in by Bono, the show's composer, to sort out the financial mess, has put up a big chunk of it, and work has resumed at the Hilton Theatre, which has been torn apart to accommodate the gigantic set.
But Cohl doesn't want to be on the hook for the whole show, so he's quietly trying to lay off as much of his investment as he can.
If you're a stage-struck sucker, I hear you can get into "Spider-Man" for about $11 million.
"They're calling everybody," says a veteran producer. "They don't want to carry the whole thing on their backs."
The finances are, of course, laughable.
The show's weekly running cost is $850,000. And that's before royalty payments. Factor those in, and the weekly nut jumps to more than $1 million. A person who's crunched the numbers says "Spider-Man" will have to run five years -- at full capacity, and by selling lots of premium-priced seats -- just to earn back the $50 million production cost.
"It's a fantasy," this person says. "How many shows sell out every seat at every performance for five straight years?"
Cohl and his co-producers, including Marvel Comics, know this is true. And when they speak to potential suckers -- I mean investors -- they admit the show is unlikely to pay back on Broadway. But they say they'll clean up on the road.
Their plan is to launch the show here and then send it out on tour. But it's not going to play 1,500-seat theaters: It's going to play 10,000-seat sports arenas.
"They're trying to sell it as a rock concert," says a producer. "But you're not going to sell out a 10,000-seat basketball stadium unless Bono and The Edge are playing the songs. Basically, it's gotta be a U2 concert. Nobody's going to sit in nosebleed seats to see a Broadway musical."
"Spider-Man" collapsed last summer when David Garfinkle, the hapless lead producer, failed to come up with the money. Other, more experienced producers took a look at the show but concluded that the finances were "insane" (as one said at the time) and that, when it came to budget-busting spending, Taymor was worse than Greece.
Not a whole lot has changed since. True, Garfinkle's been sidelined and Cohl's now in charge. But even he's not going to rein in Taymor.
And when "Spider-Man" goes into previews -- and once overtime for the hordes of stagehands kicks in -- watch that production cost soar to $60 million.
Bono and The Edge better tune up their guitars.
michael.riedel@nypost.com
http://www.nypost.com/p/entertainment/theater/spider_man_sticky_figures_FMvwejmJ4Ndm220au85j0M
Last Updated: 5:31 AM, May 14, 2010
Posted: 12:32 AM, May 14, 2010
Michael Riedel
MY favorite $50 mil lion target is swinging back into view.
"Spider-Man: Turn Off the Dark" (and bankrupt the theater) will go into rehearsals this summer, begin previews in October and open in November, theater sources say.
And by January, I bet it'll be the biggest financial disaster in Broadway history.
But I'm getting ahead of myself.
First the news: Patrick Page has been offered the role of the Green Goblin. He'll replace Alan Cumming, who withdrew from the production a few weeks ago, citing scheduling conflicts.
Page is an old hand at being green and mean. He created the title role in "Dr. Seuss' How the Grinch Stole Christmas."
Director Julie Taymor spent the week auditioning actresses to play Mary Jane. Taymor's first choice, Evan Rachel Wood, withdrew from the production last year, also because of "scheduling conflicts."
Cute little Reeve Carney is still on board as Spider-Man. I guess he's the only original cast member with nothing better to do.
As for the money, it is, believe it or not, in place. Michael Cohl, who was brought in by Bono, the show's composer, to sort out the financial mess, has put up a big chunk of it, and work has resumed at the Hilton Theatre, which has been torn apart to accommodate the gigantic set.
But Cohl doesn't want to be on the hook for the whole show, so he's quietly trying to lay off as much of his investment as he can.
If you're a stage-struck sucker, I hear you can get into "Spider-Man" for about $11 million.
"They're calling everybody," says a veteran producer. "They don't want to carry the whole thing on their backs."
The finances are, of course, laughable.
The show's weekly running cost is $850,000. And that's before royalty payments. Factor those in, and the weekly nut jumps to more than $1 million. A person who's crunched the numbers says "Spider-Man" will have to run five years -- at full capacity, and by selling lots of premium-priced seats -- just to earn back the $50 million production cost.
"It's a fantasy," this person says. "How many shows sell out every seat at every performance for five straight years?"
Cohl and his co-producers, including Marvel Comics, know this is true. And when they speak to potential suckers -- I mean investors -- they admit the show is unlikely to pay back on Broadway. But they say they'll clean up on the road.
Their plan is to launch the show here and then send it out on tour. But it's not going to play 1,500-seat theaters: It's going to play 10,000-seat sports arenas.
"They're trying to sell it as a rock concert," says a producer. "But you're not going to sell out a 10,000-seat basketball stadium unless Bono and The Edge are playing the songs. Basically, it's gotta be a U2 concert. Nobody's going to sit in nosebleed seats to see a Broadway musical."
"Spider-Man" collapsed last summer when David Garfinkle, the hapless lead producer, failed to come up with the money. Other, more experienced producers took a look at the show but concluded that the finances were "insane" (as one said at the time) and that, when it came to budget-busting spending, Taymor was worse than Greece.
Not a whole lot has changed since. True, Garfinkle's been sidelined and Cohl's now in charge. But even he's not going to rein in Taymor.
And when "Spider-Man" goes into previews -- and once overtime for the hordes of stagehands kicks in -- watch that production cost soar to $60 million.
Bono and The Edge better tune up their guitars.
michael.riedel@nypost.com
http://www.nypost.com/p/entertainment/theater/spider_man_sticky_figures_FMvwejmJ4Ndm220au85j0M
Tuesday, April 27, 2010
Batman: Coming Soon to a Theatre Near You (They linked to Dark Knight Of The Soul)
Batman: Coming Soon to a Theatre Near You
The Dark Knight is hitting the stage -- no, not the sound stage.
by Jim Vejvoda
US, April 25, 2010 - Move over, Phantom. Here comes Batman.
Warner Bros., DC Comics, and two of the companies behind the touring stage shows Walking With Dinosaurs and Mamma Mia! are in the early stages of developing Batman Live, a stage show rendition of the Dark Knight Detective. But according to The Hollywood Reporter, don't expect the Dark Knight to burst into showtunes or grace the Great White Way. "The show is neither a musical nor a Broadway-bound theatrical production but rather an elaborate arena production aimed at kids and families," said the trade.
Animation vets Alan Burnett (Batman: Mask of the Phantasm, Green Lantern: First Flight) and Stan Berkowitz (Superman/Batman: Public Enemies, Justice League: The New Frontier) are crafting the script, which will reportedly feature multiple villains.
THR adds that Batman Live will debut either in 2012 after Christopher Nolan's Batman 3 opens or sometime prior to it in 2011.
Years ago, former Batman director Tim Burton tried to stage Batman: The Musical but the project was aborted.
http://au.movies.ign.com/articles/108/1086029p1.html
The Dark Knight is hitting the stage -- no, not the sound stage.
by Jim Vejvoda
US, April 25, 2010 - Move over, Phantom. Here comes Batman.
Warner Bros., DC Comics, and two of the companies behind the touring stage shows Walking With Dinosaurs and Mamma Mia! are in the early stages of developing Batman Live, a stage show rendition of the Dark Knight Detective. But according to The Hollywood Reporter, don't expect the Dark Knight to burst into showtunes or grace the Great White Way. "The show is neither a musical nor a Broadway-bound theatrical production but rather an elaborate arena production aimed at kids and families," said the trade.
Animation vets Alan Burnett (Batman: Mask of the Phantasm, Green Lantern: First Flight) and Stan Berkowitz (Superman/Batman: Public Enemies, Justice League: The New Frontier) are crafting the script, which will reportedly feature multiple villains.
THR adds that Batman Live will debut either in 2012 after Christopher Nolan's Batman 3 opens or sometime prior to it in 2011.
Years ago, former Batman director Tim Burton tried to stage Batman: The Musical but the project was aborted.
http://au.movies.ign.com/articles/108/1086029p1.html
Warner Bros., DC Comics developing 'Batman Live' stage show (exclusive)
April 25, 2010
A Batman stage show soon might be swooping to a town near you.
Warner Bros. and DC Comics are in the early stages of developing a tour, tentatively titled "Batman Live" and starring the Caped Crusader, working with Nick Grace Management and Water Lane Prods., companies behind the popular "Walking With Dinosaurs" and "Mamma Mia!" touring shows.
The show is neither a musical nor a Broadway-bound theatrical production but rather an elaborate arena production aimed at kids and families.
Alan Burnett, a longtime animation veteran whose credits include Batman and Superman television shows as well as such animated movies as "Batman: Mask of the Phantasm" and "Green Lantern: First Flight," is writing the story and script. The logline is being kept under wraps, but it's known that the show will feature numerous villains.
Warner Bros. Consumer Products is spearheading the project, whose deals with NGM and WLP are licensing agreements. Other partners might come aboard.
The credentials of NGM and WLP are well-known in the stage world. The award-winning "Dinosaurs" show, for example, boasted intricate dinos and sets, and the tours generated tens of millions of dollars, consistently ranking near the top of Pollstar's annual ranking.
No timeline for the "Batman" show is set, though one scenario involves aiming to come out after Christopher Nolan's third "Batman" movie in 2012. Another scenario has it opening in 2011.
Mounting any type of stage production featuring a superhero can be tricky -- just look at the on-again, off-again Spider-Man Broadway musical -- but Batman could be the first DC Comics character with his own touring stage show. His erstwhile colleague Superman was the center of a Broadway show in 1966, but it closed after a few months despite fairly positive reviews.
Warners' consumer products division declined comment.
Burnett is repped by the Arlook Group.
http://www.heatvisionblog.com/2010/04/batman-live-stage-show-warner-bros-dc-comics.html
A Batman stage show soon might be swooping to a town near you.
Warner Bros. and DC Comics are in the early stages of developing a tour, tentatively titled "Batman Live" and starring the Caped Crusader, working with Nick Grace Management and Water Lane Prods., companies behind the popular "Walking With Dinosaurs" and "Mamma Mia!" touring shows.
The show is neither a musical nor a Broadway-bound theatrical production but rather an elaborate arena production aimed at kids and families.
Alan Burnett, a longtime animation veteran whose credits include Batman and Superman television shows as well as such animated movies as "Batman: Mask of the Phantasm" and "Green Lantern: First Flight," is writing the story and script. The logline is being kept under wraps, but it's known that the show will feature numerous villains.
Warner Bros. Consumer Products is spearheading the project, whose deals with NGM and WLP are licensing agreements. Other partners might come aboard.
The credentials of NGM and WLP are well-known in the stage world. The award-winning "Dinosaurs" show, for example, boasted intricate dinos and sets, and the tours generated tens of millions of dollars, consistently ranking near the top of Pollstar's annual ranking.
No timeline for the "Batman" show is set, though one scenario involves aiming to come out after Christopher Nolan's third "Batman" movie in 2012. Another scenario has it opening in 2011.
Mounting any type of stage production featuring a superhero can be tricky -- just look at the on-again, off-again Spider-Man Broadway musical -- but Batman could be the first DC Comics character with his own touring stage show. His erstwhile colleague Superman was the center of a Broadway show in 1966, but it closed after a few months despite fairly positive reviews.
Warners' consumer products division declined comment.
Burnett is repped by the Arlook Group.
http://www.heatvisionblog.com/2010/04/batman-live-stage-show-warner-bros-dc-comics.html
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