Yep, you read that headline right. The Hypable staff picked four movies we personally would want to see transformed from screen to stage as Broadway musicals. Do you agree?

From the big blockbuster super hero, to the group of women to defied the naysayers, to a classic rom-com story, we envisioned four new Broadway musicals that, you never know, could be coming to the Great White Way any day now…

Think you have a better idea? Let us know in the comments!

Kristina: ‘You’ve Got Mail’

For this article, my initial thought was to write about why my favorite movie of all time, When Harry Met Sally would be a fantastic musical. Then I realized I don’t want anyone touching that masterpiece of a film and decided on my second favorite Nora Ephron film: You’ve Got Mail. This movie has all the great makings of a musical: for starters, its a rom-com with a relatively simple plot, few — but well-defined cast members, and a hook that seems absurd now, but was nearly groundbreaking in 1998. Then again, we’ve moved from emailing strangers to swiping right and left based on our attraction to their appearances, so who’s to call AOL dial-up absurd anymore.

Just picture it, though! There would be musical numbers about books! The Internet! Love! If I’m not mistaken, a lot of us feel very passionately about all of these topics, so why not set some lyrics about them to a 4/4 time, play the C chord a few times and harmonize the shit out of them? Someone like Jessie Muller would play the lead role Kathleen Kelly, in all her dubious and optimistic enthusiasm, Stark Sands would play the bold if not a little insecure Joe Fox (that’s F-O-X.)

With recent successes like Waitress and She Loves Me Broadway audiences are looking to get lost in an entertaining love story for a few hours. You’ve Got Mail can certainly provide that.

Brittany: ‘A League of Their Own’

Maybe I am still in awe of “Diamonds Are a Girls’ Best Friend” baseball number from Smash. Or perhaps I still have some lingering feelings about “I Don’t Dance” from High School Musical 2. But I have always yearned to see a huge show stopping baseball number to hit the great white way. What better way to see that dream turned to reality than with a musical reproduction of the 1992 hit film, A League of Their Own?

The All American Girls Baseball League has a jazzy ring to it, no? Let’s break it down — There’s the creation of the Roxford Peaches, the politics behind the plate, an encroaching World War, and a rivalry with the Racine Belles. To quote another famous musical, “Who could ask for anything more?” Just in case you still need convincing, imagine this: just before the curtain falls in Act I we hear the showstopper, “There’s No Crying in Baseball.” Sounds like a home run to me.

Donya: ‘Pride’

When I first started considering what movies could be adapted for the stage, specifically as a musical, my mind started racing. There were so many options that could work, and would range from a fun and entertaining evening out, to an emotional gut punch – see Natalie’s suggestion for a perfect blending of both, and I really need to find out a way to make that happen, because. Really.

Maybe it was the Welsh Assembly elections that spurred me into considering Pride for the stage, but once my mind settled on it I couldn’t shake the thought that it would be a perfect candidate. For anyone unfamiliar with the story, it’s set in the ‘80s (specifically 1984-85) during the U.K. miners’ strike. Margaret Thatcher’s Conservative government closed several pits and restricted pay, endangering the livelihoods of thousands of British people – it’s an especially personal story, as my Grandfather was one of the miners affected.

Pride follows the true story of the Lesbians and Gays for the Miners organization coming together to support the miners and their families, seeing in their struggles the same prejudices and Government bullying that they also had to endure. They stand by the side of a small Welsh village to rally for the cause, despite adversity from both in and outside of the people they’re trying to support.

Music is integral to the story, both when it comes to the popular music that weaves through the culture and lifestyle of the queer characters, and also the sleepy Welsh village they support – Wales is a land of song and choirs, after all. With the possibility of ‘80s-esque EDM, seguing into hymns and arias, not to mention the “Pits and Perverts” concert, it would hit all the expected beats of a musical. And hearing a power ballad sung by the Welsh villagers would be certain to bring tears to my eyes, at least.

At its core, Pride is about trying to overcome insurmountable odds, of community, love, acceptance, and looking beyond your differences to fight for a common cause. It would be the perfect story for the stage, tackling the historical and political aspects of a subject as loaded as the miners’ strike, but also gay rights and the generational gap, with nothing but pure heart. I, for one, would pay good money to see it.

Natalie: ‘Captain America: The First Avenger’

I know, I know, but hear me out. Captain America: The First Avenger is a zero to hero WWII adventure tale – think On The Town meets Hercules. Weirder things have been made into musicals, and this would be so much better than Spider-Man: Turn Off The Dark.

So, how would this work? First off, you’d need to cast two actors to work in tandem as Steve Rogers – one for his sickly pre-serum self, and one for his post-transformation superhero body, but instead of asking the audience to merely suspend their disbelief, this is actually something that could be really poignant and beautiful. The use of shadow-selves in shows like the DeafWest revival of Spring Awakening, and even in Smash’s fictional Marilyn Monroe musical, makes me see the skinny Steve actor sticking around throughout the show, representing the inner heart of the character. I imagine the big Steve talking to himself in the mirror in moments of uncertainty, seeing who he really is inside on the other side of the glass. Cast a British bombshell as Peggy Carter, Jeremy Jordan as Bucky Barnes, and you’ve got yourself a hit.

In my mind, this show could be Wicked-esque scope in terms of set design and special effects, but would focus more on the human moments of the story than attempting to transfer cinematic-level superhero action to a live performance. A few well-choreographed combat scenes, a bit of wirework, great sound design and a shaking train carriage would go a long way to create the atmosphere of the HYDRA conflict without trying to awkwardly stage car chases or people getting evaporated by lasers.

The 1940s period lends potential for some amazing, classic costumes and choreography, and the moments for musical numbers write themselves – an exploratory opening number set in Brooklyn, transitioning from Steve and Bucky’s old daily life (baseball games, street brawls, failed dates, scrounging for work) to the wartime era. An pattery argument song about Steve’s attempts to enlist. A flashy, jazzy number for Howard Stark at his science expo; a clipped, efficient march at Camp Lehigh in which Peggy gets to punch people in the face; a quiet duet about staying true to yourself between Steve and Erskine, standard villain songs for the Red Skull and a slightly more twisted moment between Zola and Bucky when he’s experimented on.

Throw in a funny Howling Commandos buddy number; an “Empty Chairs at Empty Tables” moment for Steve in the bombed-out bar after Bucky’s death, and a final use of skinny Steve – dancing in his mind with Peggy as the real Steve puts the plane in the ocean. Famed composer Alan Menken wrote the music for Captain America’s USO tour theme song, “Star Spangled Man,” so that scene definitely has to stay in the show, and it wouldn’t be that hard for Menken to crack out twenty or so new tunes for a full musical, right? Who’s here to prove that we can? The Star Spangled Man with a Plan!

This article is a part of Hypable’s inaugural Broadway Week in celebration of the 2016 Tony nominations. For more theater features, click here!