Producers with The Weinstein Company have confirmed reports that Oscar-nominated actress Anne Hathaway will do double duty as beloved Wizard of Oz star Judy Garland in an upcoming film and theater project to bring the tragic star’s life to the stage and big screen.

The Rachel Getting Married star, 26, is set to tackle Judy’s s hits as part of the Weinstein Company’s planned adaptations of biographer Gerald Clarke’s 2001 book Get Happy: The Life of Judy Garland.

Harvey Weinstein told WENN late Monday, “We are thrilled to have the brilliantly talented Anne Hathaway portray stage and screen legend Judy Garland. I have worked with Anne on projects in the past and have known her for many years. She will be a true class act in this challenging role.”

He added, “Gerald Clarke’s biography is a fascinating and comprehensive look at Garland’s life and is particularly outstanding because of its exclusive details from her own writings. Her story is incredible subject matter for both theatre and film and we look forward to bringing it to audiences.”

Harvey Weinstein’s company has acquired the rights to Gerald Clarke’s 2000 biography Get Happy: The Life of Judy Garland.

The book chronicles the one-time child star’s lifelong struggle with drugs and alcohol and series of failed marriages.

Judy Garland died of an accidental overdose in 1969 at the age of 47.

The novelty of it was undeniable. For two nights, flamboyant pop musician Rufus Wainwright would be re-creating the 1961 concert Judy Garland performed at Carnegie Hall, just eight years before she died of an accidental overdose. The blue ticket stub read “Rufus Wainwright in Concert,” and then right below it: “Dedicated to Judy Garland.”

That was only half of it. Wainwright’s concert at Carnegie Hall on Wednesday (and also last night) was not merely a show, but a cultural event that drew a sold-out crowd dotted with celebrities and an audience that held Wainwright in rapturous esteem. If he weren’t already so revered, it would have been a star-making moment.

Performing the entire concert, which later became a Grammy-winning album, was a wildly ambitious project, encompassing more than 25 songs, two costume changes (from cream-colored suit to top hat and tails), and peaks and valleys of decadent singing and sentiment.

But Wainwright was up to the task, dusting off these American Songbook chestnuts with verve and an obvious affection for the material. What he lacked in Garland’s emotional heft and vocal grandeur, he compensated for with blowsy bravado and a keen understanding that delicious vamping goes a long way. Every toss of his floppy hair and thrust of his hips was in synch with the astounding full orchestra conducted by Stephen Oremus.

Wainwright’s reverence for Garland aside, the concert was as much as about Wainwright and his own aspirations. Of course, there was the symbolic importance of a gay performer saluting a pivotal gay icon. Yet this wasn’t an evening of reinvention, but rather heartfelt homage, right down to Wainwright forgetting some of the words (as Garland did) on “You Go to My Head” and resurrecting some of her original stage banter.

His love of Garland, he explained, started with “The Wizard of Oz,” and as a child, his dream was to click his ruby-red slippers just like Dorothy. That was on a good day; on a bad day, he fancied himself the Wicked Witch of the West.

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Here’s my favorite clip of his being crucified.

Man, why was everyone giving Madonna such a hard time.