Remembering September 12!

[jo]

Happy Anniversary, everyone!!

It's September 12 once again, and 8 years ago there were many of us who were at the Imperial for a never to be forgotten memory of a finale show!

How about sharing one funny or amusing incident that happened to you on that day, if any?

Mine -- on the way back to where I was staying a few blocks off, I had wondered why a few people were taking a double-take on me as we crossed paths. I thought it must have been the mega-watt grin which had not left my face yet.

The friend who was with me during that matinee laughingly told me, while she took a photo of me on the big Times Sq surroundings to preserve the moment, that the glittery stuff which they released from the top of the Imperial at curtain call were sticking on my face and neck! LOL!

I could not easily brush them off with my hand.

It took a shower to get rid of all of the stuff. LOL - I should have gone to sleep with them first - to continue to preserve the fantasy moments


Jo

[annetter]

I went to the last show alone as I hadn't met any fans yet and didn't find the Ozalot board until a few days later.

I was very sad and lonely that the excitement was over and having no one to share my feelings with.

I am so grateful to have met so many people since then and have cultivated several friendships that I know will be lifelong.

[mamaleh]

What a day that was! Ret gave some of us little Hugh/Peter pins (a treasured keepsake). At one point I helped Lizzy hold up her beautifully made "goodbye" sign to Hugh. Loved when he mischievously gave Isabel Keating a real drink instead of a fake one. Before the show, there must have been hundreds of people outside the lobby entrance; Joel Grey asked for assistance in getting through to pick up his tickets, so I led the way as a sort of broken field runner for him, LOL. I recall Hugh's throwing one of his sweat-soaked towels up towards the first row of the mezz at show's end, but the throw was slightly short, and it fell down somewhere in the orchestra. And oh, the pandemonium as he left, and the emotional high he left us with as he waved from the car as it pulled out of sight on 46th St.

I second Annette's statement about the long-lasting friendships he inadvertently brought about.

That day was the capper to an amazing year.

Ellen

[jo]

Joel Grey asked for assistance in getting through to pick up his tickets, so I led the way as a sort of broken field runner

I wonder if we crossed paths that afternoon, Ellen

Joel Grey unwittingly stepped on the feet of my friend, as we waited at the lobby for the doors to open. They were late opening the show that afternoon!

Jo

[jo]

Reliving the memories -- John Heilpern of The Observer wrote about that afternoon!

observer.com/2004/09/farewell-hugh-and-caroline-closingnight-hysteria-and-tears/

Farewell, Hugh and Caroline: Closing-Night Hysteria and Tears

By John Heilpern 9/27/04 12:00am


If you want to understand the nature of public hysteria, go to the last performance of a successful Broadway show. These emotional, fond farewells—expressions of love and communion—are unique to New York.

In London, nobody bothers much about closing nights. In London, nobody bothers much about anything. But here, where enthusiasm is innate, people want to see their favorite show one last time. In their sentiment, they want to give thanks and say, “I was there!”

You should have been there for Hugh Jackman’s final performance in The Boy From Oz. Never seen anything like it. His first entrance is immediately after the overture, when he comes on in darkness to sit at a piano. Lights up! But, of course, the packed house has seen the show before and knows every move. They can see him strolling onstage in the shadows.

It’s him! It’s him! It’s Hugh! Hysteria. Everyone’s on their feet cheering and screaming. The lights go up. He starts to sing. More hysteria!

They stopped the show before it began. He just stood there grinning from ear to ear. Well, wouldn’t you?

A good friend of mine, who was happy to pay 700 smackeroos for her tickets, was seeing the show for the eighth time. I’m embarrassed to know her, actually. But that’s nothing. She told me the Japanese couple seated in front of her were seeing the show for the 100th time. But that’s nothing, either. Midway through the show, Mr. Jackman introduced a lady to the audience who’s seen it 200 times. The spotlight found her in one of the best seats, and she stood up proudly to take a well-deserved bow.

As I joined in the hearty applause for her, I did a quick, mean little calculation: At $100 dollars a ticket, she’d spent $20,000 going to see The Boy from Oz four times a week for a year.

Don’t tell me people don’t love the theater.

The whole farewell performance was fun and touching and camp—rather like Peter Allen, or the somewhat maligned production itself. I see my review was displayed in the foyer, blown up and reprinted in full. But then, it was the only rave review the show got, more or less. Why did those eunuchs called critics dislike The Boy from Oz so much? It was as if they were trying their best to gun it down. But what’s the use of wondering? This I know: They called it wrong! The show became a hit.

True, it wasn’t Threepenny Opera. It wasn’t meant to be. True, it had a bona fide superstar in Hugh Jackman, who gave the best performance in a razzmatazz Broadway musical many of us have seen. But no performer can go it alone. Mr. Jackman needed the kindling wood that ignites the fire—the show itself, all the other fine artists, the popular songs of Peter Allen, the life story simply told.

The sour critics—sophisticates, all—missed the essential point. They should have listened to the audience. The best seat for a musical isn’t always a seat. If you stand at the back of the house, as I did for the farewell Boy from Oz, you experience a show differently, and it tells you something. You can actually feel an entire audience responding to what’s happening onstage, as if a tidal wave of emotion, or love, is rolling back and forth through the auditorium. If you want to know how a show is really doing, don’t listen to critics. Listen to the audience instead.

But what could beat Mr. Jackman’s own farewell at the end of the show? It came at the start of his last song, sung for the last time:

Once before I go—

The collective groan from the house was so palpable we laughed.

“Don’t go!” came the response. “We love you!” “Stay!” “We love you, Hugh!”

“And I love you, darlin’,” Hugh replied in his Aussie accent. He’s a good sort. The band was still playing the opening chords. He began the last song again:

Once before I go

I want you to know—

That I would do it all again.

Hysteria! The song was tailor-made for the occasion. Then the curtain descended. And all stood and cheered and cheered and cheered to the rafters. And life was good.
..

Jo

[ocjackie]

I'm just so sorry I wasn't there. And I'm also sorry that I didn't meet or talk to any of you before. All of you are just like Hugh, warm and welcoming. I found that out at BOB, although I could only see it 3 times. Waiting to meet you again at Houdidni

[njr]

I got to listen to a good bit of it, including the ending, at a friend's (fellow Ozalot) finale party on speaker phone!! Wish I had been able to be there, but at least I saw the show twice--from 2nd row (front & center) in March and 3rd row on the left in June. ;D

[jo]

From a live chat hosted by The New York Daily News --

What was your best and worst moment on the stage? And what does doing live theater mean for you as an actor?

by Broadway Bill May 22 at 12:48 AM
..


My best moment on the stage would be the closing night from "The Boy From Oz." That was an unforgettable experience. My worst moment is also my most embarrassing moment: when I peed my pants onstage. It's a long story.

by Hugh Jackman edited by Kristen A. Lee May 22 at 12:49 AM

That experience, even for fans, was incredible, giddy, almost surreal, and will forever be etched in our memory banks!

We were on a high for the entire show


Jo

[mamaleh]

That was indeed an exhilarating day. But I think the April 18 Actors Fund performance rivaled it.

Ellen

[jo]

In about two weeks time, we will be celebrating the 10th anniversary of that Closing Night!

It was such a memorable event that John Helpern of The New York Observer wrote about that extravagant closing show! I posted that article two years ago on the 8th anniversary of Closing Night.


observer.com/2004/09/farewell-hugh-and-caroline-closingnight-hysteria-and-tears/

Farewell, Hugh and Caroline: Closing-Night Hysteria and Tears

By John Heilpern | 09/27/04 12:00am


If you want to understand the nature of public hysteria, go to the last performance of a successful Broadway show. These emotional, fond farewells—expressions of love and communion—are unique to New York.

In London, nobody bothers much about closing nights. In London, nobody bothers much about anything. But here, where enthusiasm is innate, people want to see their favorite show one last time. In their sentiment, they want to give thanks and say, “I was there!”

You should have been there for Hugh Jackman’s final performance in The Boy From Oz. Never seen anything like it. His first entrance is immediately after the overture, when he comes on in darkness to sit at a piano. Lights up! But, of course, the packed house has seen the show before and knows every move. They can see him strolling onstage in the shadows.

It’s him! It’s him! It’s Hugh! Hysteria. Everyone’s on their feet cheering and screaming. The lights go up. He starts to sing. More hysteria!

They stopped the show before it began. He just stood there grinning from ear to ear. Well, wouldn’t you?

A good friend of mine, who was happy to pay 700 smackeroos for her tickets, was seeing the show for the eighth time. I’m embarrassed to know her, actually. But that’s nothing. She told me the Japanese couple seated in front of her were seeing the show for the 100th time. But that’s nothing, either. Midway through the show, Mr. Jackman introduced a lady to the audience who’s seen it 200 times. The spotlight found her in one of the best seats, and she stood up proudly to take a well-deserved bow.

As I joined in the hearty applause for her, I did a quick, mean little calculation: At $100 dollars a ticket, she’d spent $20,000 going to see The Boy from Oz four times a week for a year.

Don’t tell me people don’t love the theater.

The whole farewell performance was fun and touching and camp—rather like Peter Allen, or the somewhat maligned production itself. I see my review was displayed in the foyer, blown up and reprinted in full. But then, it was the only rave review the show got, more or less. Why did those eunuchs called critics dislike The Boy from Oz so much? It was as if they were trying their best to gun it down. But what’s the use of wondering? This I know: They called it wrong! The show became a hit.

True, it wasn’t Threepenny Opera. It wasn’t meant to be. True, it had a bona fide superstar in Hugh Jackman, who gave the best performance in a razzmatazz Broadway musical many of us have seen. But no performer can go it alone. Mr. Jackman needed the kindling wood that ignites the fire—the show itself, all the other fine artists, the popular songs of Peter Allen, the life story simply told.

The sour critics—sophisticates, all—missed the essential point. They should have listened to the audience. The best seat for a musical isn’t always a seat. If you stand at the back of the house, as I did for the farewell Boy from Oz, you experience a show differently, and it tells you something. You can actually feel an entire audience responding to what’s happening onstage, as if a tidal wave of emotion, or love, is rolling back and forth through the auditorium. If you want to know how a show is really doing, don’t listen to critics. Listen to the audience instead.

But what could beat Mr. Jackman’s own farewell at the end of the show? It came at the start of his last song, sung for the last time:

Once before I go—

The collective groan from the house was so palpable we laughed.

“Don’t go!” came the response. “We love you!” “Stay!” “We love you, Hugh!”

“And I love you, darlin’,” Hugh replied in his Aussie accent. He’s a good sort. The band was still playing the opening chords. He began the last song again:

Once before I go

I want you to know—

That I would do it all again.

Hysteria! The song was tailor-made for the occasion. Then the curtain descended. And all stood and cheered and cheered and cheered to the rafters. And life was good...

[jo]

[foxie]

Incredible memories!!!

[jo]

After reading the accounts of how Hugh performed at the Rivers funeral, that brought back some wonderful memories of the musical score, especially QUIET PLEASE, THERE'S A LADY ON STAGE.


Strange but I also realized that we are celebrating the 10th anniversary of the closing show at the end of this coming week, on September 12.


We were lucky that copies of the professionally-done media/press reels of the musical numbers from the show were floating around for awhile... and which have been mostly uploaded on YouTube.

As these production numbers were filmed during early previews ( they were going to be used as publicity material), the final opening number which was added towards the end of previews, was not included in those filmed numbers. From the final version of the show ( and part of the OBCR), came my favorite song from THE BOY FROM OZ.

It was called THE LIVES OF ME, which encapsulated the many people and events that touched Peter's life. Hugh sings it with such a special poignancy and without all the glitter that accompanied most of the other numbers.


www.youtube.com/watch?v=3OXcAOrGQ9A


With it, to bookend the show was the eleven o-clock number, ONCE BEFORE I GO.

Such wonderful memories!



Jo

[birchie]

Sept 7, 2014 19:13:44 GMT -5 jo said:

After reading the accounts of how Hugh performed at the Rivers funeral, that brought back some wonderful memories of the musical score, especially QUIET PLEASE, THERE'S A LADY ON STAGE.


Strange but I also realized that we are celebrating the 10th anniversary of the closing show at the end of this coming week, on September 12.


We were lucky that copies of the professionally-done media/press reels of the musical numbers from the show were floating around for awhile... and which have been mostly uploaded on YouTube.

As these production numbers were filmed during early previews ( they were going to be used as publicity material), the final opening number which was added towards the end of previews, was not included in those filmed numbers. From the final version of the show ( and part of the OBCR), came my favorite song from THE BOY FROM OZ.

It was called THE LIVES OF ME, which encapsulated the many people and events that touched Peter's life. Hugh sings it with such a special poignancy and without all the glitter that accompanied most of the other numbers.


www.youtube.com/watch?v=3OXcAOrGQ9A


With it, to bookend the show was the eleven o-clock number, ONCE BEFORE I GO.

Such wonderful memories!
Jo

Those are my two favorite songs from TBFO and below is my favorite video commemorating the closing performance. I cried the first time I saw it. I suspect someone who was an Ozalot made the video but I never found out who it was. It's very well done and features The Lives Of Me and finishes with a few bars from the end of Once Before I Go. Have tissues handy:

Sue

[jo]

Nancy Sinatra blogs about the closing show --

nancysinatra.com/blog/2004/09/hugh-jackman/

Hugh Jackman
September 15th, 2004 by Nancy

“The Boy From Oz” closed last Sunday afternoon and I had the privilege and pleasure of seeing it for the second time. It seems to me that Hugh Jackman was born to play Peter Allen. He was absolutely wonderful!

Here is the bow from the final scene. He is holding a bouquet of flowers from someone in the audience.





This is from the encore, “I Go To Rio” just prior to the final curtain.





And here we are backstage after the show.

[jo]

Memories of that day --

[jo]

www.youtube.com/watch?v=YaU8pXPWBqE

When he sang ONCE BEFORE I GO at the closing show, it was particularly poignant!

Here's what I reminisced from that long-ago day ( printed on the defunct official TBFO forum) --

And so the last performance went too fast -- the crowd almost seemed to want to will it to be frozen in time.

But the show said Goodbye even earlier than expected. When Hugh, as Peter, sang Once Before I Go, he had unwittingly gone out of the Peter character. He became Hugh Jackman saying goodbye to Broadway. Never had lyrics meant for something else became so hauntingly appropriate for the occasion. With each word, Broadway's Golden Boy said Farewell to an incredible year on the Great White Way.

It was such a happy occasion that I didn't think I would cry. But as he sang the song with its particularly poignant and emotional words of farewell, my eyes started stinging...and my throad ached.

www.youtube.com/watch?v=0-P77A9THEM

And then - curtain!

Rio was a real blast - we clapped, swayed in our seats, sang with the cast (Oops ) and tried to hold the moments from passing. But as Hugh eventually went down the staircase in his curtain call red shirt, we knew it was time to say Goodbye to THE BOY FROM OZ!

The confetti fell, other party trimmings flew into the air, and the roses fell on the stage. His little speech was almost drowned out as the crowd said their emotional farewells. ( I waved Goodbye - sob!).

So long, Hugh - come back soon and be Broadway's favorite son once again!

So long, Peter Allen - it was wonderful to know you!

[jo]

HAPPY 10TH ANNIVERSARY !!

[mamaleh]

Once again, great memories. Thanks, Jo. I never tire of looking at the pic of Hugh giving Matt Damon that lap dance, turning around for a moment to look at the audience with that impish grin on his face. What a day that was--and oh, what crowds outside, especially post-show. I got pushed over some sort of opening in the road through which steam emerged. When I was able to move, I saw that the steam had melted some of the signatures on my poster, LOL. Not Hugh's, thankfully. That day was a zoo, but a happy zoo.

Ellen

[foxie]

Listening to the album today of course I have listen 100 times at least but it stills gives me a panicy feeling in my chest and my heart flutters we were so lucky to experience such a wonder that is what it was I don't that can ever happen again but he can come close!!!

[foxie]

I think I must watch the bad dvd I have tonite I am into it!!

[foxie]

Watching it it is so bad but it is from a preview and how muscular Hugh is remember how skinny at the end!

[jo]

Oops, we missed the 12th year anniversary of the show's closing by a few days !



Here's one of the spectacular numbers from one of Broadway's Greatest Showmen --





Will we see a similar look for THE GREATEST SHOWMAN ON EARTH


Jo

[jo]

And a year before that, it opened to previews on Broadway on September 16, 2003!

www.ibdb.com/broadway-production/the-boy-from-oz-13424

Full details on the production on this theatre site.


I recall that during previews, the songlist was changing every now and then. The original opening number was not ALL THE LIVES OF ME but another Peter Allen song. If I recall right, ONCE BEFORE I GO was not yet the eleven o'clock number. And TENTERFIELD SADDLER was still part of the production. When we learned that it was taken out because it was felt that the lyrics would not resonate with Broadway audiences, we were very disappointed and had discussed that on the then official forum for TBFO...which might have been fed back to the producers because they decided to retain it in the original cast recording as a bonus feature.

One of the most enjoyable early promos of the show was when Hugh appeared on Good Morning America and performed NOT THE BOY NEXT DOOR eventually on top of the piano - later joined by an elated Diane Sawyer








From the viewpoint of eager fans awaiting the opening --

*On the first day of ticket sales, the queue lining up at the box office at the Imperial got a surprise visit from Hugh himself! Someone handed him a rose... which he impudently placed between his lips! That gave us an early signal that this actor will be a fun performer!





*There were various reports on rehearsals and preview performances. The most confusing, and devastating to some, was when they decided to eliminate the front row ( supposedly because of lighting issues which they observed during previews). This caused some distress because the occupants of the seats had to be reassigned new seats in the house ( no longer front row because the second row, the soon-to-be-famous Row AA, became the new front row and also kept their original occupants which was very lucky for many, including moi ) or were given a choice of other dates.

*During rehearsals, a much larger theatre became vacant but it was Hugh who decided he wanted the show to remain at the Imperial. Eleven years later, he would actually be back on Broadway in the general vicinity -- the theater that was available was not Circle in the Square but its famous neighbor, the Gershwin, which houses the still-running WICKED! On hindsight though, it was an excellent decision because the Imperial was considered one of the best musical houses on Broadway -- it had a sense of intimacy lacking in the cavernous Gershwin, which would play well with the way Hugh had keynoted his performance by involving the audience in many ways -- and as someone said, it did not have a bad seat even if one were seated in the balcony.

*The official TBFO site and forum ( which eventually became the original site of our current forum, but of course with modifications, thanks to Valerie) emerged in July of 2013 and had gathered a group of fans eager to start sharing their impressions and hopes for the production.

*Hugh did not break the 4th wall regularly during previews although the possibilities with the material were already there. It became a regular feature especially in the early weeks of the regular run, especially when it became obvious that it helped tremendously in keeping the show afloat after the devastating reviews


Jo

[jo]