In a potentially groovy turn of events, it seems Mike Myers is writing a script for an Austin Powers stage musical.


Already containing several musical numbers, and featuring a hero who hails from the Swinging Sixties, the movie franchise seems ripe for translation to the stage.

The script Myers is working on is a prequel to the first film, telling the story of how shagadelic secret agent Austin Powers got his mojo. It will be set to the music of Burt Bacharach and Elvis Costello, according to The Hollywood Reporter.

Of course, Austin Powers the Musical isn't the first movie-to-musical adaptation and it won't be the last. Here are ten more...


This hi-tech, video-enhanced production does feature Unchained Melody in the soundtrack but that potter’s wheel scene, which made clay sexy, is apparently short and unsexy.


Easy job for the producers here – it’s already a musical. All they need is a stage.

High Fidelity

The musical of the film of the book. But stage musicals strike me as the antithesis of what John Cusack’s cynical record shop owner is all about.

Legally Blonde

Sheridan Smith rose out of the mire of Two Pints of Lager and a Packet of Crisps to make her name in this comedy about a homecoming queen who decides to become a legal eagle.

Lord of the Rings

No, really. Tolkien must be turning in his grave.

Priscilla Queen of the Desert

The tale of a cross-dressing musical troupe travelling through the Australian outback was made for the stage – and it starred Alf from Home and Away!


Another Mike Myers movie destined for the stage - he voiced the animated green ogre in the film version.


“A musical lovingly ripped off from Monty Python and the Holy Grail” by Eric Idle.

The Wedding Singer

It already had the songs, so you’d think the Adam Sandler vehicle was a ready-made musical. But apparently only two of the original tracks made it to the stage.

When Harry Met Sally


One of the best romantic movie comedies ever made recast as a stage musical with Alyson Hannigan and Luke Perry, and with musical interludes from Jamie Cullum. Widely considered pointless, although the fake orgasm scene is bordering on the operatic.