So, I definitely think the idea is salvageable. It's about finding what makes Dick Grayson unique, stripped away from the Batman mythology. Don't worry about who he's going to become. And I can only come back to two things. The first is the identity of Robin as being derived from Robin Hood. Dick chooses a persona that's a vibrant and colorful counterpoint to Batman. The second is the idea of Dick Grayson being the first of the second generation heroes, the first teenaged sidekick, the vanguard of the superhero generation. I like the idea throughout the DC Universe of Batman and Superman ushering in this new era of rapid societal change. So, while Dick Grayson's kicking it at the traveling circus, rumors have just started about some sort of monster stalking the criminal element of Gotham, and a red and blue angel streaking through Metropolis, helping those in need. He grew up in Gotham but, at a young age, his family settled into a nomadic lifestyle for reasons he doesn't entirely understand. And this type of lifestyle means that, instead of relying on second-hand Batman villains to tell your stories (although there'd certainly be a few of those), you can use the genesis of the modern DC(TV) Universe as your principal conceit. He encounters various criminal and heroic elements familiar to the comic fans while they're still in the stages of their infancy. So the circus brings him to Keystone City, where a group of blue collar career criminals using home-made, stolen, or otherwise acquired technology have unionized. The circus is forced to hunker down outside Hub City, a burnt-out husk of a town that's suffered through a deadly earthquake and collapsed into corruption and rioting, after their funds go dry. And Dick comes under the wing of Vic Sage, a vigilante reporter trying to stymie the implosion of the city. The circus visits Star City where irresponsible young playboy Ollie Queen plays mayor by day and hero by night. Early on he tussles with Killer Croc, a malformed ex-con who works in the circus' freak show. And later, we introduce Harleen Quinzel, the unbalanced grad student of Dr. Leslie Tompkins. Rather than making her a Joker lackey, we introduce her as the foil to Grayson, independent of the Joker/Batman rivalry. Ozzie Cobblepot is a rich, young eccentric who thought he'd buy himself the spot as Prince of Gotham's underworld. The ruling Mafia families rode him out on a rail, and now he perches in Bludhaven as a shady nightclub owner. He sees the actions of this "Batman" completely overturning the mafia rules, and he's just waiting to swoop in as a new breed of mobster, to fill in the vacuum that the Batman's war on crime is creating. Cheshire might make a good villain too. And the thread arching through the series as a whole is the rise of Intergang, a corporate-modeled criminal empire ruthlessly pursuing franchises in the world's major cities, each one catering to the particular "flavor" of the city. They frequently use an organization called the League of Assassins (led by Lady Shiva) as their muscle. Ulysses Armstrong (The General) becomes another recurring villain, a smooth southern boy who was raised by a war veteran father obsessed with Civil War reenactment. He's a savante with military theory, and Intergang is using him to train and organize the various thugs and criminal elements in the cities that they're seizing.
But at the heart of it, naturally, is the maturation of Dick Grayson. At the start of it, he's an irascible, adventurous kid, sick of the nomadic lifestyle, living on the fringes of the real world. The rumors of "heroes" are something he latches onto, and what sends him diving into adventures. He's an acrobat who's been learning to use the bow and arrow from Mia Dearden, the daughter of the circus' resident sharpshooter. And early on, he saves a girl at the circus from an assault. That would be the introduction of Leslie Thompkins and Stephanie Brown Thompkins. Leslie is a social psychologist who's tagging along with the circus for research into a book. Stephanie's her daughter, who Dick saves. Harleen gets introduced as her grad student further down the line. Dick loves the thrill and he decides to don a Robin Hood inspired costumed identity. It basically amounts to a slick red hood and an archery bow. His "Merry Men" are just his group of friends, all the similarly aged kids living in the traveling circus. Stephanie and Mia form a love triangle with Dick. Mia (Spoiler) is the daughter of Roy Harper. A Gulf War veteran sharpshooter, Roy suffers from post-traumatic stress disorder, which was only compounded by the death of Mia's mother (who's maiden name she took to honor her). His dependency on prescribed drugs has developed into a crippling heroin addiction, and now the two of them live hand-to-mouth with the circus. Mia fills in for him at the show more often than not. Danny Brickwell (Brick) is the son of the circus' resident strong man, Dick's Friar Tuck. And Jason Todd is the dangerous, street-savvy drifter-turned-gear-monkey who mostly hangs out with them out of interest in Mia. The story isn't about "how he'll become the kid that will become Robin once Batman teaches him how to be Robin". The story would be building towards the inevitable tragedy of his parents and his meeting with Batman, but by the time he gets there, he's already a Robin (Red Robin is the name I'd choose, although it might be more alluded to rather than tagged out right) by the time Batman meets him, either at the end of the series, or at a major season transition, after which the series might change direction to become a Gotham-based, Bat-verse centered series. The transition of him meeting Batman isn't about him "becoming Robin". It's about him closing the story of the wandering youth. What the death of his parents and the epic meeting signals is the end of roving adolescence. Rather than being a care-free youth caught up in the thrill of crime fighting, he finally finds himself a home in Gotham and a mission grounded in responsibility, rather than youthful thrill-seeking. As the series builds, the circus slowly progresses to Gotham, and the pieces come together of the dark mystery that's kept the Graysons on the move all this time, and the inevitable tragedy of the parents' death. Grayson's father was the Crimson Avenger in the 70's, the vigilante who inspired Batman, and who tangled with a sadistic cult leader known as the Mad Monk. Grayson built a family, and when the Monk returned, he fled with his new family. Now the Monk is out for his blood, and tied into the hierarchy of Intergang. The finale being built to is the final reckoning of the senior Grayson, and Dick's reclamation of his legacy. The story's about Dick Grayson's growing up, and so the meeting with Batman is decidedly different. Dick grows up in the shadow of these great heroes, but he's only behind them by a couple of steps, just a few years younger than Batman. And by the time of their meeting, he's already developed into a daredevil in his own right. The meeting and the tutelage changes him, but it doesn't take Batman to bring about the origin of Robin. He grows up on his own. Batman's just the end cap to his journey. He doesn't become a "sidekick". He becomes a protege.
Dick's value in the DC Universe is being a sort of lynch-pin, the guy who's met everybody, who's been around and has connections throughout the community. His value as Robin is as a generally upbeat yet street level counterpoint to the brooding machismo of Batman. So what you need to do is strip the excess Bat-elements of his past and just pursue these two beats at full force. Focus on "Robin" rather than "Batman & Robin".
It could work. Just don't call him "DJ". That's retarded.