After the high ratings and great reviews for “Behind the Candelabra,” HBO’s 2013 ghoulish but absorbing bio about Liberace, producer Jerry Weintraub wanted to turn it into a Broadway musical. As The Post reported at the time, he hoped to entice Nathan Lane to star and John Logan (“Red”) to do the adaptation.

It sounded like a fun idea, but Weintraub died in 2015, and the project seemed to go the way of the Liberace museum in Vegas — oblivion. But it’s back on track with a new producer, David Permut, who just had a hit with the Oscar-nominated “Hacksaw Ridge.”

“I was thinking about shows like ‘Jersey Boys,’ ‘Funny Girl’ and ‘The Boy From Oz’ — shows based on real-life characters — and how popular they are,” Permut tells me. “And Liberace seems like a natural. He was certainly larger than life.”

Even his diamonds were large. He flashed more bling than Jay Z. When I was a kid, I saw him in concert at the Melody Fair Tent in Buffalo, NY. He waded into the audience, made up mainly of middle-aged ladies, and showed them his enormous rings.

“Aren’t they wonderful?” he said. “I’m so glad you like them. You paid for them!”

Permut’s right about the popularity of bio musicals these days.

“Jersey Boys,” about Frankie Valli and the Four Seasons, just ended an 11-year run on Broadway and grossed more than $2 billion worldwide. Hugh Jackman made “The Boy From Oz,” a musical about Peter Allen, the hottest ticket in town back in 2003. “Funny Girl,” about Fanny Brice, is a classic that’s long overdue for revival. And let’s not forget “Beautiful, The Carole King Musical,” which grosses about $1 million a week at the Stephen Sondheim Theatre.

The HBO movie “Behind the Candelabra” starred a superb Michael Douglas as Liberace and Matt Damon as his boy toy, Scott Thorson. It focused on Liberace’s last years, when he was trying to turn Thorson into a younger version of himself as he was secretly dying of AIDS. But it flashbacked to his childhood in Wisconsin and his rise to the upper reaches of show business. Liberace was, in the Guinness Book of World Records, the world’s highest-paid musician in the ’70s, earning more than $5 million a year tickling the ivories.

Permut says “Behind the Candelabra” will probably mix songs Liberace played during his shows with an original score. No word yet on who the writers, director or stars will be.

“I’m just beginning to think about my dream team,” he says.

But recalling Liberace’s flamboyant capes, furs and rhinestone-encrusted shoes, Permut says the Broadway show “will have a significant wardrobe budget.”

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Jake Gyllenhaal has pretty much sold out “Sunday in the Park With George.” Glenn Close is going to extend her run in the successful revival of “Sunset Boulevard.” And Bette Midler is going to open “Hello, Dolly!” with a $40 million advance.

But buzz is building for several musicals this spring that don’t have any stars.

Everybody I know who’s seen the new musical “Come From Away,” opening Sunday, has raved about it. It’s about a few small Newfoundland towns that welcomed several thousand people whose planes were grounded there on Sept. 11, 2001. Theater people are calling it a sleeper hit that could emerge as a Tony favorite.

“Anastasia” is racking up a decent advance — $6 million, I hear — and could be a family hit of the season. Lynn Ahrens and Stephen Flaherty’s score is good, and Terrence McNally has done a nifty job adapting the animated movie for the stage.

And don’t forget “Groundhog Day.” Sales are a little slow — only $3 million — but that’s probably because media attention has been focused on Gyllenhaal, Close and Midler. But the show got raves in London and may finally make a star of Andy Karl.

Score a ticket while you can.