Movies

The Strange Saga of the ‘Superman’ Broadway Musical

BBG News

Wow, check out YouTube! I’ve stumbled upon what might just be the most peculiar slice of American superhero media ever conceived – it goes by the name “It’s a Bird… It’s a Plane… It’s Superman“. If you found the idea of transforming the sequel to Joker into a musical perplexing, then get ready for a mind-boggling experience!

Approximately half a century prior to Joaquin Phoenix’s portrayal of a criminal prince with melodious tendencies, the stage of Broadway welcomed its own singing Superhero. This performance premiered on Broadway during the same year that Adam West’s Batman dominated television screens. However, while Batman swiftly became a pop-cultural phenomenon on ABC, “It’s a Bird… It’s a Plane… It’s Superman” ended its run after only three months. This production was one of the most expensive flops in Broadway history at that time.

It’s not unusual that superhero singing shows aren’t widely liked; after all, Spider-Man isn’t known for his Broadway performances, especially considering how badly his musical, “Spider-Man: Turn Off the Dark,” flopped financially in the early 2010s. What is peculiar, though, is the show’s high-caliber production team and the bizarre script of the play itself.

The iconic film, famously known as “It’s a Bird… It’s a Plane… It’s Superman,” was masterfully directed by Hal Prince, a legendary figure in Broadway history. Notably, he contributed significantly to the original stagings of “Sweeney Todd,” “Cabaret,” “Evita,” “On the Twentieth Century,” and “The Phantom of the Opera.” The film’s music composers had previously collaborated on “Bye Bye Birdie,” with one later penning the tunes for “Annie.

The script for the play was penned by Robert Benton and David Newman, employees at Esquire magazine, who had no previous experience on Broadway. However, less than a year after “It’s a Bird… It’s a Plane… It’s Superman” closed, these two individuals gained significant attention in Hollywood due to their revolutionary screenplay for Arthur Penn’s “Bonnie & Clyde.” This Oscar-winning film turned out to be one of the most impactful movies of the ’60s and played a crucial role in establishing the “New Hollywood” era.

Initially, the film “It’s a Bird … It’s a Plane … It’s Superman” was not what it seemed. Contrary to expectations, it didn’t provoke furious critiques that later needed to be recanted. Interestingly, many reviews of this movie were actually quite positive, with the New York Times describing it as “fun.” Unfortunately, it didn’t trigger a surge of superhero musical adaptations, which is disappointing because my draft for “The Plastastic World of Plastic Man” has been gathering dust on my desk for years.

Fundamentally, it wasn’t a snapshot that perfectly encapsulated the ’60s cool of Bonnie & Clyde; instead, it was a humorous parody of comic book themes. The story revolved around Superman as he confronted a mad scientist and clashed with Max Mencken, a Daily Bugle columnist who dislikes Superman and Clark Kent, mainly because he harbors secret feelings for Lois Lane.

On Broadway during the late 1960s and early 1970s, Bob Holiday took on the role of Superman. This was after George Reeves’ “Adventures of Superman” had ended its original run in syndication, and before Christopher Reeve portrayed Superman in films. Therefore, Holiday was the Superman of his time. He often signed autographs as Superman following matinee performances, appeared on the game show “I’ve Got a Secret” in character, and even did a commercial for Aqua Velva, praising it for being as refreshing as swimming across the Atlantic as Superman.

Despite the lack of online videos showcasing the initial Broadway performance (that I’m aware of), in 1975, ABC transformed “It’s a Bird… It’s a Plane… It’s Superman” into a TV special for their “Wide World of Entertainment” series. This adaptation boosted the celebrity factor slightly; Kenneth Mars from “The Producers” played Max Mencken, while a young Lesley Ann Warren took on the role of Lois Lane. The script underwent significant changes to fit it into a two-hour slot with commercials. For instance, a subplot featuring Chinese acrobats was dropped in favor of one involving singing and dancing Italian gangsters.

The film adapted the musical numbers to suit the groovy ’70s style, but this adaptation has made them seem more outdated compared to the 1966 cast recordings. If you’ve ever thought a Superman movie would be improved by having him sing a disco song while fighting villains, then this will certainly be up your alley.

In this film, certain humorous elements resemble the 1960s Batman series; for instance, when an off-screen narrator (similar to Gary Owens from Laugh-In) dramatically queries “Will Superman arrive in time?” and then, after a pause, declares “Join us next time for Chapter 3: ‘Superman Arrives!'” Additionally, the musical number that wins favor with theater enthusiasts, titled “You’ve Got Potential,” is sung by another Daily Planet employee who harbors affection for shy Clark Kent.

However, a significant portion of the “Superman” musical spectacle is remarkably strange. Instead of traditional methods like using Kryptonite against Superman, the villains almost succeed by undermining his confidence to such an extent that Superman contemplates suicide. He attaches a weight to himself and leaps off the Warren G. Harding Memorial Bridge in Metropolis.

A short while later, Superman resurfaces from the water, comprehending that his extraordinary respiratory system prevents him from drowning. It seems he has super-lungs, not exceptional intelligence. Subsequently, he gets some encouragement from two bohemian aspiring comic artists named Jerry and Joe – evidently symbolizing Superman’s creators Jerry Siegel and Joe Shuster. When Superman confesses he often feels out of place amidst ordinary humans, Jerry and Joe reply, “There’s nothing abnormal about being unique, dude, just as long as you use your uniqueness wisely!

Absolutely! It seems Lois is in peril. I’ve got to take flight! Skyward, skyward, and beyond reach! This is my call as I dash towards the heavens. (Indeed.)

The classic story of Superman, initially not staged on Broadway in its entirety, has been reimagined by numerous community theaters. A 2010 adaptation modernized the script to eliminate some over-the-top aspects, and moved the narrative from the 1960s to the 1930s – a time when Superman first appeared, which seemed more fitting for the innocent feel of the tale. Following the infamous production of Spider-Man: Turn Off the Dark, It’s a Bird…It’s a Plane…It’s Superman also graced the West End stages in London.

Although the full television special, which you can watch here, might seem quite playful and even absurd, I find myself drawn to its vibrant pop art sets and Ben Day Dot design style. The grand musical number and fight scene featuring Superman (“Pow! Bam! Zonk!”) are a real delight. Given that superheroes on screen are frequently depicted as serious, dark, and violent, it’s refreshing to find adaptations like this one that are whimsical, entertaining, and innocent. It’s a Bird… It’s a Plane… It’s Superman certainly fits the bill. While it has its flaws, it offers a unique perspective and holds potential for more enjoyable content.

The Biggest DC Movie Bombs

1. Black Adam

Financial Analysis of Black Adam

The movie Black Adam earned $393 million at the box office, which seems favorable compared to its reported budget of $260 million. However, it’s essential to take into account that the $260 million figure does not incorporate Warner Bros.’ marketing expenses for Black Adam, a cost that can easily surpass hundreds of millions of dollars for blockbuster films.

The extent to which Black Adam was a flop or a modest success was a matter of debate in various industry publications. Some speculated that the film could potentially result in losses of around $100 million for Warner Bros., while others predicted a profit of $50 million. Despite the conflicting opinions on the exact figures, it’s indisputable that Black Adam did not achieve sufficient success to ensure the sequel promised in its post-credits scene.

2. The Flash

In the wake of Black Adam’s release, The Flash followed suit a few months later, displaying comparable financial figures: A substantial production budget and a less-than-impressive box office earnings, despite numerous appearances by characters from DC’s extensive film and television legacy, as well as the tease of establishing the new DC Universe. This underperformance hindered the development of another potential franchise.

After Black Adam, The Flash was released with a hefty budget and less-than-expected earnings at the box office. Despite cameos from a multitude of characters across DC’s film and TV universe, and the anticipation that it would lay the groundwork for the new DC Universe, its performance stalled another potential franchise in its tracks.

3. Green Lantern

Division:
– Reported Budget: $200 million
– Box Office Gross: $220 million

Context:
For the last 12 years, the movie “Green Lantern” has been associated with flops at the box office. Its lead actor, Ryan Reynolds, even makes fun of it in his movies such as the Deadpool series. This isn’t usually a good thing.

4. Shazam! Fury of the Gods

Reported Budget: $125 million
Box Office Gross: $133 million
The sequel, Fury of the Gods, didn’t perform as well as its predecessor, Shazam!, financially speaking. Interestingly, it had a larger production budget, according to online sources. This means that if Shazam doesn’t make another appearance in the new DC Universe overseen by James Gunn and Peter Safran, it won’t be surprising.

5. Catwoman

Instead of creating another film featuring Michelle Pfeiffer’s Catwoman from “Batman Returns”, Warner Bros opted to produce an unrelated movie about a new feline heroine they developed, portrayed by Halle Berry. Regrettably, this film failed both critically and financially. Meow.

Instead of making another Catwoman movie with Michelle Pfeiffer, Warner Bros made a different cat-themed film with Halle Berry. Unfortunately, it didn’t do well either in reviews or at the box office. Meow.

6. Supergirl

In the late 1970s and early 1980s, the Superman film franchise marked a significant milestone for comic book movies. However, its box office success declined rapidly. By the time they released their first spinoff, Supergirl in 1984, the series was already on its way out. The movie only managed to gross approximately $15 million at the box office, which is far from impressive for a superhero film. Despite this, Supergirl didn’t receive a sequel or any further big-screen appearances – until 2023 with the release of The Flash.

In other words, while Superman was groundbreaking in its time, its spinoff Supergirl struggled to make an impact at the box office, and it took nearly four decades for another big-screen appearance of a character from that franchise.

7. Jonah Hex

Budget and Box Office Performance for DC Adaptation

The budget allocated for this project was $47 million, while its box office gross was only $11 million. This film’s production history seems to have been cursed. The initial directors withdrew before shooting even started; then their successors were replaced during an extensive series of reshoots. Actor Josh Brolin later disclosed that they filmed 66 pages of script in just two weeks for these reshoots, which is astounding given the final film ran for only 80 minutes.

In this version, I’ve attempted to make the text more conversational and easier to read by breaking it into smaller paragraphs, adding a title for clarity, and rephrasing some sentences to improve flow.

8. Batman: Mask of the Phantasm

As a dedicated movie critic, let me share my thoughts on the captivating animated masterpiece, “Batman: Mask of the Phantasm.” Despite being widely acclaimed as one of the finest Batman films ever made, this gem only managed to rake in a modest $5.6 million at the box office. This figure pales in comparison to the earnings of many DC movies that are arguably less impressive. The story goes that Warner Bros. decided to release this cinematic treasure in theaters at the last minute, or it could have been destined for home video. Regardless, the film was essentially a big-screen adaptation of a TV series that fans could enjoy for free five days a week on television. If you ever doubt the relationship between a film’s commercial success and its quality, remember Batman: Mask of the Phantasm as a shining example.

9. Steel

25 years ago, the budget for the movie “Steel” starring Shaquille O’Neal was significantly lower at around $19.7 million. Unfortunately, it only managed to earn less than 10% of that amount at the box office. Compared to other superhero films like “Batman & Robin”, the year 1997 could be considered a low point in the history of superhero cinema.

In 1997, the movie “Steel” starring Shaquille O’Neal had a budget of just under $20 million. However, it only made less than 10% of that at the box office. When compared to other superhero films like “Batman & Robin”, this suggests that 1997 could have been a challenging period for superhero cinema.

10. The Return of Swamp Thing

In seven years, a sequel to Wes Craven’s “Swamp Thing” was finally produced, but unfortunately, it didn’t live up to expectations. Originally conceived as a gritty horror film, the sequel, titled “Return of Swamp Thing“, morphed into a cheesy campfest instead. Despite this, it barely managed to earn a quarter of a million dollars at the box office. Since then, “Swamp Thing” has appeared on TV several times, but it hasn’t returned to theaters.

In this version, I have tried to make the language more conversational and easier for the reader to understand. Additionally, I have clarified that the sequel was titled “Return of Swamp Thing“.

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2025-07-07 22:56

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