First Images Of The Cast Of Batman Live Finally Revealed!

You thought that the costumes in Joel Schumacher's Batman & Robin looked cheesy? Well, the following pictures of Batman, Robin, The Joker, Catwoman, Poison Ivy and more, might just make you think otherwise...

Faithfully adapted from the DC Comics characters and stories, BATMAN LIVE focuses on Robin's quest for justice, which leads him to follow in the footsteps of his hero, the mysterious vigilante known as the Batman - much to the dismay of his protective guardian, millionaire Bruce Wayne - who secretly happens to be Batman.

A dazzling celebration of storytelling and stagecraft, BATMAN LIVE is at its heart an affecting coming of age story. Bruce Wayne and Dick Grayson - both orphaned at an early age - must first learn to overcome their own fears and forge their own family - along with Police Commissioner James Gordon and Bruce's trusted butler, Alfred Pennyworth - if they're going to survive the combined forces of Batman's larger-than-life rogues gallery: The Joker, The Penguin, Catwoman, The Riddler, Two-Face, Harley Quinn and Poison Ivy.
 

Golden Girls' star Bea Arthur dies at 86

LOS ANGELES (AP) — Beatrice Arthur, the tall, deep-voiced actress whose razor-sharp delivery of comedy lines made her a TV star in the hit shows "Maude" and "The Golden Girls" and who won a Tony Award for the musical "Mame," died Saturday. She was 86.

Arthur died peacefully at her Los Angeles home with her family at her side, family spokesman Dan Watt said. She had cancer, Watt said, declining to give further details.

"She was a brilliant and witty woman," said Watt, who was Arthur's personal assistant for six years. "Bea will always have a special place in my heart."




Arthur first appeared in the landmark comedy series "All in the Family" as Edith Bunker's loudly outspoken, liberal cousin, Maude Finley. She proved a perfect foil for blue-collar bigot Archie Bunker (Carroll O'Connor), and their blistering exchanges were so entertaining that producer Norman Lear fashioned Arthur's own series.

In a 2008 interview with The Associated Press, Arthur said she was lucky to be discovered by TV after a long stage career, recalling with bemusement CBS executives asking about the new "girl."

"I was already 50 years old. I had done so much off-Broadway, on Broadway, but they said, `Who is that girl? Let's give her her own series,'" Arthur said.

"Maude" scored with television viewers immediately on its CBS debut in September 1972, and Arthur won an Emmy Award for the role in 1977.

The comedy flowed from Maude's efforts to cast off the traditional restraints that women faced, but the series often had a serious base. Her husband Walter (Bill Macy) became an alcoholic, and she underwent an abortion, which drew a torrent of viewer protests. Maude became a standard bearer for the growing feminist movement in America.

The ratings of "Maude" in the early years approached those of its parent, "All in the Family," but by 1977 the audience started to dwindle. A major format change was planned, but in early 1978 Arthur announced she was quitting the show.

"It's been absolutely glorious; I've loved every minute of it," she said. "But it's been six years, and I think it's time to leave."

"Golden Girls" (1985-1992) was another groundbreaking comedy, finding surprising success in a television market increasingly skewed toward a younger, product-buying audience.

The series concerned three retirees — Arthur, Betty White and Rue McClanahan — and the mother of Arthur's character, Estelle Getty, who lived together in a Miami apartment. In contrast to the violent "Miami Vice," the comedy was nicknamed "Miami Nice."

As Dorothy Zbornak, Arthur seemed as caustic and domineering as Maude. She was unconcerned about the similarity of the two roles. "Look — I'm 5-feet-9, I have a deep voice and I have a way with a line," she told an interviewer. "What can I do about it? I can't stay home waiting for something different. I think it's a total waste of energy worrying about typecasting."

The interplay among the four women and their relations with men fueled the comedy, and the show amassed a big audience and 10 Emmys, including two as best comedy series and individual awards for each of the stars.

In 1992, Arthur announced she was leaving "Golden Girls." The three other stars returned in "The Golden Palace," but it lasted only one season.

Arthur was born Bernice Frankel in New York City in 1922. When she was 11, her family moved to Cambridge, Md., where her father opened a clothing store. At 12 she had grown to full height, and she dreamed of being a petite blond movie star like June Allyson. There was one advantage of being tall and deep-voiced: She was chosen for the male roles in school plays.

Bernice — she hated the name and adopted her mother's nickname of Bea — overcame shyness about her size by winning over her classmates with wisecracks. She was elected the wittiest girl in her class. After two years at a junior college in Virginia, she earned a degree as a medical lab technician, but she "loathed" doing lab work at a hospital.

Acting held more appeal, and she enrolled in a drama course at the New School of Social Research in New York City. To support herself, she sang in a night spot that required her to push drinks on customers.

During this time she had a brief marriage that provided her stage name of Beatrice Arthur. In 1950, she married again, to Broadway actor and future Tony-winning director Gene Saks.

After a few years in off-Broadway and stock company plays and television dramas, Arthur's career gathered momentum with her role as Lucy Brown in the 1955 production of "The Threepenny Opera."

In 2008, when Arthur was inducted in the TV Academy Hall of Fame, Arthur pointed to the role as the highlight of her long career.

"A lot of that had to do with the fact that I felt, `Ah, yes, I belong here,'" Arthur said.

More plays and musicals followed, and she also sang in nightclubs and played small roles in TV comedy shows.

Then, in 1964, Harold Prince cast her as Yente the Matchmaker in the original company of "Fiddler on the Roof."

Arthur's biggest Broadway triumph came in 1966 as Vera Charles, Angela Lansbury's acerbic friend in the musical "Mame," directed by Saks. Richard Watts of the New York Post called her performance "a portrait in acid of a savagely witty, cynical and serpent-tongued woman."

She won the Tony as best supporting actress and repeated the role in the unsuccessful film version that also was directed by Saks, starring Lucille Ball as Mame. Arthur would play a variation of Vera Charles in "Maude" and "The Golden Girls."

In 1983, Arthur attempted another series, "Amanda's," an Americanized version of John Cleese's hilarious "Fawlty Towers." She was cast as owner of a small seaside hotel with a staff of eccentrics. It lasted a mere nine episodes.

Between series, Arthur remained active in films and theater. Among the movies: "That Kind of Woman" (1959), "Lovers and Other Strangers" (1970), Mel Brooks' "History of the World Part I" (1981), "For Better or Worse" (1995).

The plays included Woody Allen's "The Floating Light Bulb" and "The Bermuda Avenue Triangle," written by and costarring Renee Taylor and Joseph Bologna. During 2001 and 2002 she toured the country in a one-woman show of songs and stories, "... And Then There's Bea."

Arthur and Saks divorced in 1978 after 28 years. They had two sons, Matthew and Daniel. In his long career, Saks won Tonys for "I Love My Wife," "Brighton Beach Memoirs" and "Biloxi Blues." One of his Tony nominations was for "Mame."

In 1999, Arthur told an interviewer of the three influences in her career: "Sid Caesar taught me the outrageous; (method acting guru) Lee Strasberg taught me what I call reality; and ('Threepenny Opera' star) Lotte Lenya, whom I adored, taught me economy."

In recent years, Arthur made guest appearances on shows including "Curb Your Enthusiasm" and "Malcolm in the Middle." She was chairwoman of the Art Attack Foundation, a non-profit performing arts scholarship organization.

Arthur is survived by her sons and two granddaughters. No funeral services are planned.

Natasha Richardson dies at 45 after ski accident

NEW YORK (AP) -- Natasha Richardson, a gifted and precocious heiress to acting royalty whose career highlights included the film "Patty Hearst" and a Tony-winning performance in a stage revival of "Cabaret," died Wednesday at age 45 after suffering a head injury from a skiing accident.

Alan Nierob, the Los Angeles-based publicist for Richardson's husband Liam Neeson, confirmed her death in a written statement.

"Liam Neeson, his sons (Micheal and Daniel), and the entire family are shocked and devastated by the tragic death of their beloved Natasha," the statement said. "They are profoundly grateful for the support, love and prayers of everyone, and ask for privacy during this very difficult time."

The statement did not give details on the cause of death for Richardson, who suffered a head injury when she fell on a beginner's trail during a private ski lesson at the luxury Mont Tremblant ski resort in Quebec. She was hospitalized Tuesday in Montreal and later flown to a hospital in New York.

Family members had been seen coming and going from the New York hospital where Richardson was taken.




Vanessa Redgrave, Richardson's mother, arrived in a car with darkened windows and was taken through a garage when she arrived at the Lenox Hill Hospital on Manhattan's Upper East Side about 5 p.m. Wednesday. An hour earlier, Richardson's sister, Joely, arrived alone and was swarmed by the media as she entered through the back of the hospital.

It was a sudden and horrifying loss for her family and friends, for the film and theater communities, for her many fans and for both her native and adoptive countries. Descended from at least three generations of actors, Richardson was a proper Londoner who came to love the noise of New York, an elegant blonde with large, lively eyes, a bright smile and a hearty laugh.

If she never quite attained the acting heights of her Academy Award-winning mother, she still had enjoyed a long and worthy career. As an actress, Richardson was equally adept at passion and restraint, able to portray besieged women both confessional (Tennessee Williams' Blanche DuBois) and confined (the concubine in the futuristic horror of "The Handmaid's Tale").

Like other family members, she divided her time between stage and screen. On Broadway, she won a Tony for her performance as Sally Bowles in a 1998 revival of "Cabaret." She also appeared in New York in a production of Patrick Marber's "Closer" (1999) as well as 2005 revival of Tennessee Williams' "A Streetcar Named Desire," in which she played Blanche opposite John C. Reilly's Stanley Kowalski.

She met Neeson when they made their Broadway debuts in 1993, co-starring in "Anna Christie," Eugene O'Neill's drama about a former prostitute and the sailor who falls in love with her.

"The astonishing Natasha Richardson ... gives what may prove to be the performance of the season as Anna, turning a heroine who has long been portrayed (and reviled) as a whore with a heart of gold into a tough, ruthlessly unsentimental apostle of O'Neill's tragic understanding of life," The New York Times critic Frank Rich wrote. "Miss Richardson, seeming more like a youthful incarnation of her mother, Vanessa Redgrave, than she has before, is riveting from her first entrance through a saloon doorway's ethereal shaft of golden light."

Her most notable film roles came earlier in her career. Richardson played the title character in Paul Schrader's "Patty Hearst," a 1988 biopic about the kidnapped heiress for which the actress became so immersed that even between scenes she wore a blindfold, the better to identify with her real-life counterpart.

"Natasha Richardson ... has been handed a big unwritten role; she feels her way into it, and she fills it," wrote The New Yorker's Pauline Kael. "We feel how alone and paralyzed Patty is — she retreats into being a hidden observer."

Richardson was directed again by Schrader in a 1990 adaptation of Ian McEwan's "The Comfort of Strangers" and, also in 1990, starred in the screen version of Margaret Atwood's "The Handmaid's Tale."

She later co-starred with Neeson in "Nell," with Mia Farrow in "Widows' Peak" and with a pre-teen Lindsay Lohan in a remake of "The Parent Trap." More recent movies, none of them widely seen, included "Wild Child," "Evening" and "Asylum."

She was born in London in 1963, the performing gene inherited not just from her parents (Vanessa Redgrave and director Tony Richardson), but from her maternal grandparents (Michael Redgrave and Rachel Kempson), an aunt (Lynn Redgrave) and an uncle (Corin Redgrave). Her younger sister, Joely Richardson, also joined the family business.

Friends and family members remembered Natasha as an unusually poised child, perhaps forced to grow up early when her father left her mother in the late '60s for Jeanne Moreau. (Tony Richardson died in 1991).

Interviewed by The Associated Press in 2001, Natasha Richardson said she related well to her family if only because, "We've all been through it in one way or another and so we've had to be strong. Also we embrace life. We are not cynical about life."

Richardson always planned to act, apart from one brief childhood moment when she wanted to be a flight attendant — "wonderful irony now since I hate to fly and have to take a pill in order to get on a plane. I'm so terrified."

Her screen debut came at age 4 when she appeared as a flower girl in "The Charge of the Light Brigade," directed by her father, whose movies included "Tom Jones" and "The Entertainer." The show business wand had already tapped her the year before, when she saw her mother in the 1967 film version of the Broadway show "Camelot."

"She was so beautiful. I still look at that movie and I can't believe it. It still makes me cry, the beauty of it. I could go on and on — in that white fur hooded thing, when she comes through the forest for the first time. You've never seen anything so beautiful!" Richardson said.

She studied at London's Central School of Speech and Drama and was an experienced stage actress by her early 20s, appearing in "On the Razzle," "Charley's Aunt" and "The Seagull," for which the London Drama Critics awarded her most promising newcomer.

Although she never shared her mother's fiercely expressed political views, they were close professionally and acted together, most recently on Broadway to play the roles of mother and daughter in a one-night benefit concert version of "A Little Night Music," the Stephen Sondheim-Hugh Wheeler musical.

Before meeting up with Neeson (who called her "Tash") Richardson was married to theater and producer Robert Fox, whose credits include the 1985 staging of "The Seagull" in which his future wife appeared.

She sometimes remarked on the differences between her and her second husband — she from a theatrical dynasty and he from a working-class background in Northern Ireland.

"He's more laid back, happy to see what happens, whereas I'm a doer and I plan ahead," Richardson told The Independent on Sunday newspaper in 2003. "The differences sometimes get in the way but they can be the very things that feed a marriage, too."

She once said that Neeson's serious injury in a 2000 motorcycle accident — he suffered a crushed pelvis after colliding with a deer in upstate New York — had made her really appreciate life.

"I wake up every morning feeling lucky — which is driven by fear, no doubt, since I know it could all go away," she told The Daily Telegraph newspaper in 2003.