Batman: The Musical: Difference between revisions

{{quote|''The Joker has'' '''left''' ''the building!''}}

 

In hindsight this seems like a blatantly ridiculous idea, but at the time it was taken quite seriously. [[Tim Burton]] was to direct. Ultimately, though, the plans fell through, following the failure of the badly [[In Name Only|Americanized]] ''Tanz'' adaptation ''Dance of the Vampires'' (which gained one of the abandoned Bat-songs), and Steinman packed off much of what he'd written to give to [[Meat Loaf]] as standalone pieces when the two reunited for ''Bat Out of Hell III''.

 

 

This show, along with 1966's ''It's A Bird! It's A Plane! It's [[Superman]]!'', rather suggests that the only thing more toxic to a musical (in America, at least- the aforementioned ''Tanz'' is a phenomenon in Europe and Japan, and ''Dracula: Entre l'Amour et La Mort'' did well in Canada) than [[Vampire Musicals|vampires]] is superheroes. (Although ''[[Spider-Man: Turn Off the Dark]]'' did manage to run for 4 years on Broadway...)

The story as can best be surmised is a combination of [[Batman (film)|Burton's two]] [[Batman Returns|Batman films]], with the vengeful, brooding Batman protecting the terrified citizens of Gotham from the Joker's murderous antics while also tangling with glamorous kleptomaniac Catwoman. Max Schreck, the [[Corrupt Corporate Executive]] from ''Returns'' is also present, though in absence of the Penguin's plot from that film it's rather hard to guess where he fits into this adaptation. One of the main changes made to the general Bat-mythos, though, is that it ties Selina Kyle/Catwoman directly into his origin as well as the Joker, who (once again, as in Burton) is here retconned as the petty crook who gunned down Bruce Wayne's parents. Selina ''also'' witnessed the Waynes' deaths, as a frightened orphan child, and was struck by how quickly one can lose everything one has. Batman and Catwoman become full romantic partners as adults based on this common pain, and she ultimately dies in his arms as he tells her that they're "still the children [they] once were".

 

 

''Definitely'' not to be confused with ''[[Bat Boy: The Musical]]''. Or ''[[Holy Musical Batman]].''

* [[Dating Catwoman]]: Literally. And apparently without them knowing each other's identities in ''civilian'' life rather than in costume.

* [[Department of Redundancy Department]]: "Come midnight's midnight/When the dark entwines with darkness..."

* [[Died in Your Arms Tonight]]: Catwoman.

* [[Final Love Duet]]: "We're Still The Children We Once Were"

''Salva Nos, Domine }}

* [[Self-Plagiarism]]: Chock-full ''of'' examples of and sources ''for''.

* [[Silly Love Songs]]: "Not Allowed To Love". Holy [[Romantic Plot Tumor]], [[Incredibly Lame Pun|Batman]]!

* [[Take That]]: This project was the target of a ''very'' popular swipe at its very concept courtesy of a ''[[Batman Beyond]]'' episode in which Bruce and Terry attend a Batman musical.

'''Bruce''': It's schwarbage. }}

* [[Timeshifted Actor]]: The child versions of Bruce Wayne and Selina Kyle and their older Batman and Catwoman counterparts.

 

{{reflist}}

[[Category:Rock Operas]]

[[Category:The Musical]]

[[Category:Theatrical Productions]]

[[Category:Batman]]