One Night Only - Hugh's one-man show in LA for MPTF

[JH4HJ]

This sounds FABULOUS! Did someone say "almost three hours!"

By SANDY COHEN AP Entertainment Writer Associated Press

Hugh Jackman threw himself a birthday party with 4,500 guests, but they had to pay to attend.

The actor spent his 45th birthday Saturday at Hollywood's Dolby Theatre, where he sang, danced and told stories for "One Night Only," a benefit concert that raised $1.85 million for the Motion Picture & Television Fund.

"This is probably the most narcissistic way to spend your birthday," he said after the show. "I chose my favorite songs and told stories about my life."

Backed by a 17-member orchestra, Jackman performed a variation of his recent Broadway show, with personal stories, a few film clips and selections from classic Hollywood musicals — including a tap-dancing routine during "Singin' in the Rain." He talked about his family, sang a tribute to his wife and shared music and images of his native Australia.

"A lot of guys would say to their wife, 'Do you mind if I go play golf with my buddies?' That's how I am about the show," he said. "I love it. If there's a song I don't like, I cut it and bring in a new song. Everything is something I want to do. So to be here tonight, supporting this cause — and it couldn't have been a more generous crowd if it tried — in every way it was great."

Jackman said he donated his birthday performance to the Motion Picture & Television Fund because it offers "that unconditional helping hand you get in a family." The organization provides health care and other services to entertainment-industry workers and retirees.

Cybill Shepherd, Bryan Singer, Darren Criss and songwriter Carole Bayer Sager were among the famous faces in the industry-heavy audience for the two-and-a-half-hour show, which ended with Jackman auctioning off an electric Fiat, a pair of Wolverine claws and two sweaty undershirts he wore during the night's performance. The shirts went for $11,000 each.

What was the "average" for the T-shirt auctions in NYC? Does anyone remember?

[foxie]

Thanks so much would have loved to be there no it doesn't seem two years. Love him!

[mamaleh]

Hard to type much on my phone, but until I get home to my computer, suffice to say it was a magical evening. Hugh was more free-wheeling, footloose and happily cheeky/naughty than I've ever seen him. Several hilarious double entendres and good-natured swearing mixed with Hugh in powerful voice and the most revved up, jazzy musicianship ever from Patrick and the orchestra made for a "wow" experience. And birthday cupcakes, to boot.

More to come tomorrow.

Ellen

[jo]

Thanks, Ellen

Your brief post added so much more to all the media reports! Cheekier Hugh, eh


Jo

[jo]

[JH4HJ]

A short message from datbuckaroo - -

Hugh was great! ...sang "Who Am I?" from Les Miz ...  better than in the movie - standing O!

He did a Peter Allen medley - thanked Carole Bayer Sager - so nice. Really nice set up of Tenterfield Saddler - sang it beautifully. Didn't "become" PA; lovely tribute to him. Thanked the OZalots, said hi to a few in the front row.

He apologized for still being bulked from shooting X-Men.
He did a medley of classic musical movie songs - really changed into tap shoes ...what can't he do?

His handlers had to get him onto a flight to Beijing by midnight...challenging for them.
More later. Yes, you can post on the OZalot board.

I am eager to hear more. Will someone please post a list of all the songs, and the gist of the stories - same or different from the Broadway show? Did he have the same backup group? Were the aboriginal Aussies there? Did he do "Over The Rainbow"? "Once Before I Go"? Encore???

[jo]

[jo]

Re the auction of the undershirt on Broadway - I thought I remembered that it had gone to as high as $ 25,OOO and the bid was made by a celebrity ( Judge Judy??) but I wasn't too sure.

After re-reading one of the articles on the Back on Broadway section of this board, someone wrote about the $ 25,000 winning bid but did not mention the bidder.

Jo

[jo]

Here's the report from BC/EFA on the Jackman auction results --

www.broadwaycares.org/page.aspx?pid=1353

HUGH JACKMAN'S RETURN RAISES $1,789,580 FOR BC/EFA



Bringing his wit, charm and a little bit of playful cajoling, Hugh Jackman's return to Broadway not only broke box office records, but also helped fill a widening gap of financial support for hundreds of AIDS and family service organizations across the country.

Opening on November 10, 2011, Hugh Jackman, Back on Broadway played for 10 weeks to sold-out audiences through January 1, 2012. And for 51 of those performances beginning November 15, Jackman graciously concluded each show with what he slyly called "a bit of shameless exploitation in pursuit of the common good."

Unbuttoning his shirt to expose his white undershirt, the Tony Award winner and movie star offered up his sweaty tank top each night to the highest bidder. Jackman would sign, date and hand-deliver the shirt to whomever offered what he encourage would be "a very generous, tax-deductible donation to Broadway Cares." And hundreds of extraordinary donations were indeed made in response.

Depending on the night and the spiritedness of the audience, each T-shirt sold for anywhere between $5,000 to $25,000, which would then double as Jackman smoothly offered up a second T-shirt – one he wore during the show's first act – if the two high bidders would match each other.

If there was a particularly eager and well-healed third high bidder, Jackman would offer to autograph the sparkling gold belt he wore as Peter Allen to start the second act. These never went for less than $5,000.

Jackman also held post-show meet-and-greets with a photo backstage for fans willing to donate $2,500 each. For those looking to donate in other ways, scores of signed posters went for a $200 donation and thousands contributed to "bucket collections" at each exit as the audiences left.

In the end, Jackman, his cast and entire company at the Broadhurst Theatre raised an astounding $1,789,580 during the fundraising, which continued into the show's final week of performances.



The total surpassed the previous single-show fundraising record of $1,568,833 set during Jackman's run with Daniel Craig of A Steady Rain in 2009. Jackman's first Broadway show, The Boy from Oz, raised $1,186,554 in 2003 and 2004.

"Hugh Jackman is amazing in his generosity of spirit, energy and talent," said BC/EFA Executive Director Tom Viola. "Because of these efforts, we will be able to make a significant difference for so many desperately needed service organizations that continue to struggle with decreases in government, foundation and individual support. I know for a fact that more doors will stay open, lights will stay on and lives will be saved thanks to the kindness of Hugh and his audiences."

In appreciation of these phenomenal efforts, Broadway Cares announced a special $150,000 grant to Nomad Two Worlds, an organization founded by Australian photographer Russell James and championed by Jackman. Nomad Two Worlds supports the indigenous Aboriginal and marginalized communities in Australia by supplying direct grants to emerging artists and addressing a variety of health issues they face. Jackman featured several of these artists in his Broadway show.

"It is our responsibility here at BC/EFA to share the incredible resources we’ve been blessed with in ways unexpected, particularly with organizations that mean so much to those who stand with us in these annual efforts," Viola said. "So, in honor of Hugh and his entire company at the Broadhurst Theatre, we hope this gift will allow Nomad Two Worlds to sustain and reach a bit further in its efforts."

Each night, as the crowd lept to its feet in adoration at the close of his show, Jackman would ask his audiences' indulgence for just a few more minutes. After explaining the work of Broadway Cares, he'd turn "the work," as he'd say, over to his audience.

"There are about 1,200 people here tonight, so if everyone just gave $1,000 we could raise $1.2 million," he joked, before starting the auction, selling autographed posters and volunteering to pose for photos with those who made significant contributions.

His audiences clearly responded. Even TV celebrities like Judge Judy Sheindlin, The View's Sherri Shepherd and Today co-host Kathie Lee Gifford couldn't resist Jackman's charms and joined in the bidding. His most successful night of fundraising came on December 9 when he raised $68,746 at one performance, selling two T-shirts for $25,000 each for starters.

Jackman's extraordinary generosity and amazing energy inspired the entire company of Hugh Jackman, Back on Broadway to join him nightly in these astounding fundraising efforts. Everyone – cast and crew, musicians and front-of-house personnel, wardrobe staff and security, company management, stage managers and production assistants – were part of what became Jackman's nightly fundraising team.

Thanks to Broadhurst house manager Hugh Barnett, company manager Heidi Neven and stage managers Kim Vernace and Charlie Underhill for welcoming a team of six BC/EFA staffers and volunteers who joined them front-of-house and backstage to augment their own incredible support. A special acknowledgment to Geoffrey Polischuck, Jackman’s dresser ("the best on Broadway," Jackman said more than once from the stage) who made sure the T-shirts were signed and much more. And a 21-gun salute to Irving Milgrom, Jackman's executive assistant, who handled a legion of generous and excited admirers and fans, making sure that well-intended donations never turned to mayhem onstage after the show.

Special thanks to Robert Fox and The Shubert Organization, the producers of Hugh Jackman, Back on Broadway for their continued support and for making this unique fundraising opportunity possible.

Every night, 20 minutes of extraordinary kindness shown by Hugh Jackman, his company and his audiences translated into a lifetime of better health, expanded services and far-reaching support for hundreds of thousands of people – gifts that will last even longer than the memories of an immensely engaging evening at the theatre.

Thanks Hugh!

[jo]

The Les Mis star, who is reportedly worth £62million, told guests at Hollywood’s Dolby Theatre in LA: “I’m 45 or as they call it here in Los Angeles – 36. It opens me up to more commercial opportunities. Maybe I can start advertising Viagra now.”

Cheeky Hugh!


Jo

[jo]

[caligirl]

Hugh was in excellent form last night. "Who Am I?" from Les Miz brought down the house. His rendition was FABULOUS! Better than in the movie! Standing ovation. Deb's short hair cut looked wonderful. Audience was super responsive. A woman spent a total of $30,000 in the auction for 3 separate items. She was attending with a girlfriend - said her husband was a home - she looked "normal" as in not loaded with jewelry or "LA looking" - and she had $30,000 to spend. YIKES!I still can't get over that one. At A STEADY RAIN I donated $1,500 for a meet & greet with Hugh & Daniel Craig. TOTALLY worth it.....but sad to say higher than that is out of my bracket. Thanks Hugh for another memorable night!

[jo]

[jo]

[jo]

More details ---

www.looktothestars.org/news/10912-hugh-jackman-hosts-one-night-only-benefit-concert

Hugh Jackman Hosts One Night Only Benefit Concert

October 14, 2013


Last night, Hugh Jackman brought his one-man show to Los Angeles’ Dolby Theater for a one night only performance to benefit the Motion Picture and Television Fund Foundation (MPTF).

This was Jackman’s first time performing the show in Los Angeles, and MPTF’s first public event! The One Night Only event was co-chaired by Jim Gianopulos, Chairman and CEO, 20th Century Fox, and his wife Ann, longtime supporters of MPTF. The evening had many surprise guests and events that even Jackman was surprised by!

The evening began with Jackman performing his critically acclaimed one-man show for the packed 3,200-seat house. Using song and dance, Jackman shared with the audience stories about his life, and expressed the things most important to him. He dedicated “The Way You Look Tonight,” to wife, Deborra-Lee, while a slide show of personal photos of the family played for the audience. Jackman sang a duet with friend Richard Marx, of Marx’s famous “Right Here Waiting,” and performed Chicago’s “Fever” while weaving through the theater to grab a hug from Cybill Shepherd and dance with audience members. Hugh’s passion for Broadway shone through during his numerous performances from shows like “Les Miserables,” “Carousel,” “The Boy From Oz” and “Guys and Dolls.” The stories Jackman told in between performances shed a glimpse into the life of the actor, father, husband, friend, and philanthropist. He shared a story of a late night phone call from Steven Spielberg, while on tour promoting the film “Australia,” asking Hugh to host the Academy Awards. Jackman also spoke about his time spent with the aboriginal tribes of Australia and sang “Somewhere Over the Rainbow” with Olive Knight, from Wangkatjungka, Australia. He spoke about the organization Nomad Two Worlds, and their efforts to collaborate with Indigenous artists in order to raise awareness of the rich culture and history of these peoples, worldwide. The show ended with a performance of “Mack the Knife.” Upon curtains, Jackman’s wife, Deborra-Lee wheeled out a birthday cake, as the audience joined in singing as the orchestra played a rendition of “Happy Birthday” to celebrate the performer’s 45th year. Audience members also enjoyed birthday cupcakes by Wolfgang Puck, under each one of their seats. 3,200 cupcakes in total!

Guests in the audience included Maria Bello, Darren Criss, Tom Cruise, Kristin Davis, Barry Diller, Baby Face, FOX Filmed Entertainment CEO and Co-Chair of the evening Jim Gionopulos, Terrence Howard, Dreamworks Animation CEO and MPTF Foundation Committee Chairman Jeffrey Katzenberg, Michael Kors, Universal Chairman Donna Langley, Steve Levitan, Richard Marx, Olivia Munn, Carole Bayer Sager, Cybill Shepard, Octavia Spencer and Diane von Furstenberg.

After the surprise birthday celebration, the audience participated in a live auction to benefit MPTF with Wolverine claw auction paddles. Auction items included: a Panerai watch (which went for $10,000), originally one Delta Air Lines and FOX “X Men: Days of Future Past” Premiere package was to be sold, but due to popularity two were eventually sold ($13,000 each), three Dolby screening experiences, and since this was another popular auction item FOX Filmed Entertainment CEO Jim Gionopulos threw in two more screening on the FOX lot ($13,000 each), a jacket signed and worn by Jackman during the filming of “X-Men Origins: Wolverine” ($15,000), two shirts, literally, off of Jackman’s back that night and signed ($11,000 each), two sets of Wolverine claws Jackman wore during filming ($9,000 each), and a Fiat 500e vehicle, individually personalized by Jackman ($50,000 purchase by Bob Daly). Darren Criss was one of the live auction winners as well. The FIAT brand donated ten of its all-new, all-electric Fiat 500e vehicles in support of the event. Each have been individually personalized by some of Hollywood’s biggest stars, including Ron Howard, Kate Hudson, Clint Eastwood, Barbra Streisand, Hans Zimmer, Anne Hathaway, Snoop Lion, Jennifer Lawrence and will.i.am and Ryan Friedlinghaus. All except for Jackman’s Fiat 500e will be auctioned off on eBay at www.ebay.com/MPTF and will also benefit MPTF. The auction items in total raised almost $170,000 for the MPTF.

VIP guests were then treated to an after-party at The Annex. The evening raised $1.85 million for the MPTF in ticket sales and through the live auction. People can still donate to the MPTF through Causes.com’s MPTF site, at www.Causes.com/MPTF. The evening’s presenting sponsors included Delta Air Lines, Dolby, American Express, and FIAT.

Hugh Jackman’s involvement with MPTF, a 92-year-old charity that provides essential health care, wellness, social services, child care and retirement services to the entertainment community, began in 2007 when he first performed and co-hosted the organization’s “A Fine Romance” – an event celebrating the love affair between Broadway and Hollywood.

All of the evening’s proceeds benefited the MPTF.

[mamaleh]

"Events that even Jackman was surprised by"? I don't know about that. As in his B'way show, he seemed pretty familiar with and prepared for the sequence of events.

Flew the red-eye last night and am now back home, weary and bleary. (Stayed long enough yesterday to take the silly but fun TMZ bus tour.) But I thought I should write down my thoughts and remembrances before they vanish into the air.

First off, the Dolby Theater is glittery and gorgeous. I'd never seen its interior before except, of course, on TV coverage of the Oscars. The stage is much wider than I'd imagined. I'm sure every B'way number had to be restaged somewhat for the larger space.

Random bits in no particular order:

It was pretty evident that Hugh and Richard Marx, whom Hugh affectionately calls "Ricardo," had a ball during their "Right Here Waiting for You" number. As per usual, Hugh was a bit fuzzy on the lyrics, and as their byplay grew more and more giddy, Hugh simply waited for Marx to sing a line, then Hugh would repeat it. That bit escalated to Marx's making up stuff to see if Hugh would repeat it. I lost it at the last such line, "I s**t the bed," which Hugh sang sweetly in repetition. Marx did intimate that "maybe there is just one thing you're not so great at.' Really funny.

After the "Singin' in the Rain" tap number, the three dancers spent what seemed to be an inordinate amount of time crouched down surrounding Hugh's lower regions. He quipped something akin to, "Ah, you're still down there kneeling in front of me. Well it IS my birthday." The place erupted in raucous laughter. It sounded like he added a quick, "Sorry, Deb." Naughty boy!

He said he didn't mind getting older, as it would open up new opportunities for him, such as deals with Viagra and Flomax. "Either way," he said, "I'll be unzipping my pants." We all howled with laughter--and I couldn't help imagining an appropriate visual. 'Nuff said.

A LES MIZ segment (it got a big hand at first mention) began with a clip from the movie featuring Russell Crowe's "false report" recitative and Hugh's response, which segued into his live rendition of "Who Am I?", masterfully done, less acted and more forcefully sung than in the movie, as befits a concert stage. It got a thunderous ovation, with many standing. He sheepishly asked the audience not to let Russell know about this clip (shown without his "permission"). I can't quite remember if it was here that he jocularly used the adjective "fu***ing" as a funny so-what brush-off to the need for Russell's permission. Another big laugh. I should have written it down right away. Other attendees: Do you remember the exact context? It was like being present during guy-talk; you could tell he was looser and more freewheeling here among his peers and friends.

He saw a guy in the audience drinking what appeared to be a beer with ice. "Beer with ice?", he said. "I've never seen that." He was thirsty enough to sample it and took a sip. (I'm sure it came it handy, as he was working up a sweat, very visible from my front row seat.)

He made numerous and repeated shout-outs to Fox studio honchos and his publicity people, of whom Hugh seems genuinely fond. He even picked the 88-year-old father of his PR guy, Alan Nierob, as his "Fever" victim. I had a feeling he was kind of a stand-in for Hugh's own dad. It was a funny and sweet segment.

He called Deb "the funniest woman alive." At one point, some female voices from way, high up shouted out, "We love Deb." Without missing a beat, Hugh promptly retorted, "Not as much as me!" (Of course, that should have been "I," not "me," but we got the message.

The "L-O-V-E" segment had some different visuals to accompany the song, though many were the same as those in the B'way incarnation. The first one shown, for example, was a shot of the Dolby interior.

I was surprised that he didn't do "Once Before I Go." The next day we were chatting with one of the musicians, who said they had indeed rehearsed OBIG and planned to include it, but because the show was running so long with a lengthy auction to follow, after which Hugh had to catch his Beijing-bound jet, they decided to cut it. Aw.

When Hugh failed to catch the twirled umbrella during "Singin' in the Rain" and it rolled down into the pre-pit area (a guy threw it back to him--and he missed that, too, LOL), I immediately thought he'd be thinking about that later during the cane twirl in "Sing Sing Sing" and the same thing might reoccur. It did. But nobody cared because he was so charming (as usual) in the aftermath, making light quips about the oops moments. With only a couple of rehearsals, very understandable. But I especially love when things goof up because he's so ingratiating in handling those situations--and I think it makes the shows more memorable.

For almost a decade I've been wondering why Hugh abandoned his CD project with Richard Marx. Last night, he finally revealed the reason. After performances of THE BOY FROM OZ, Hugh would head to the studio to work on the CD. (He must have been exhausted, after performing those 20-odd songs each night.) During their recording of the song "Smile," the first line of which Hugh sang sweetly on stage Saturday evening, Marx asked if he could do it more "this way," meaning less in musical-theater style and more soul-infused pop. Marx demonstrated what he meant. His version was more melismatic, or whatever the term is for using several notes to convey a single syllable, When Hugh heard Marx sing it he said, "My version's s**t; I'd want to hear yours instead." So he never completed the CD. I still say that was a shame. There is more than one way to interpret a song; think of how many different versions there are of popular songs. But that ship, unfortunately, has sailed. At least they formed a fast and solid "brotherly" friendship from the experience.

The Peter Allen segment was more an homage than the usual embodiment of Peter, which was fine enough. No surprise pop-up in the box, no Hawaiian shirt, no gold lame pants. My theory was that maybe he preferred not to camp it up too much in front of the industry professionals. In any case, he conveyed the songs well. After singing the "...between the moon and New York City" line from "The Best That You Can Do," he addressed co-lyricist (with Peter) Carole Bayer Sager in the audience: "That was Peter's one line, wasn't it?"

I didn't recognize Cybill Shepherd at first. When Hugh went into the audience at the start of "Fever," she leapt out of her seat, clutched Hugh in a bear hug and wouldn't let go! He really had to work at extricating himself from her iron grip. I was concerned until I realized she not some dotty fan but the former star of THE LAST PICTURE SHOW.

The specifics of the auction were already enumerated in publications and various posts. What I especially liked about it was that he conducted it with his shirt wide open, chest hairs very much in evidence peeking out of his top of his undershirt.

When the giant "cake" was wheeled out at the end, I was wondering if anyone would pop out--maybe a scantily clad nymphet? No, but Jim Gianopulos, head of Fox Filmed Entertainment did appear. From my vantage point, I didn't know whether he was supposed to be perceived as emerging from behind or from the cake, LOL. Walking out from the wings, he turned out to be the rumored second "special guest" He praised Hugh, who showed a photo on screen of JG's visage on a current Greek postage stamp. Hugh joked that it's a 3-cent stamp.

Under every seat in the huge Dolby auditorium were a cardboard Wolverine claw to be used as a bidding paddle at the evening's end as well as a tiny cupcake in a box with this inscription on top: "Please Save for Hugh's Birthday Moment at the End of the Show." Deb joined Hugh, JG, et. al. on stage for the big finish, as we all sang Happy Birthday to Hugh.

One of the best aspects of events like this is the chance to reconnect with old friends. Some of us got together for drinks and breakfast and laughed over old times. Great to see you all, whether just at the event or while breaking bread.

Also very much enjoyed chatting with the sweet-natured Olive, Nate and Paul, who once again flew in all the way from the Outback. So glad they did. Lovely, lovely people.

I'm probably forgetting stuff, but I'm really fatigued and my inelegant prose bears that out. Signing off!

Ellen

[israruth]

Ellen,
Thank you so much for the detailed report. It brought back wonderful memories of past shows.
Ruth

[foxie]

Thanks ellen should have known u would be there!

[birchie]

Thanks Ellen for the report! Sound like a wonderful evening.
I had to laugh at the Cybil Shepherd incident. It reminded me of the first time I saw the video (things you miss when watching live) of one of the Tony shows. At the end of the number he got a huge ovation and the camera panned over the happy crowd and a woman, I think it may have been Kathleen Turner, had such a look on her face-like she was running a XXX movie of Hugh in her head. It cracked me up and I thought...she looks exactly the way all the women (& some men) are feeling too, but not showing it. LOL!
(Sorry I can't remember which number, I'd have to go back through my tony videos but it was either One Night Only or the Dreamgirls opening number.)
Anyway, glad you had a fun & safe trip, Ellen.
Sue

[birchie]

A young actor who was surprised to be interviewed but ended up being a good example of how Hugh inspires young performers:
Darren Criss sends birthday message to Hugh Jackman


Sue

[jo]

Ellen --

Thanks for filling in what had only been hinted at in some of the media reports and social network tweets

I think the changes reflected ( fittingly) the change in venue for such a show. I gather there is a bit more intimacy on the Broadway incarnation and there were shared memories ( like the Peter Allen part, after the yearlong TBFO on Broadway)...while the people who came to see it at the Dolby were probably more of a film industry or film audiences crowd and are not as bound as the audiences at TBFO had become. In a sense, it was comparable to the revised TBFO playing before arena crowds in Australia compared to what the Imperial audiences saw. And maybe it was less musical theatre-ish and more like Hollywood fun in musicals? Hugh had tailored it more to who he was playing it to

Re the Hollywood musicals medley -- did he do the whole range of oldtime musicals ( including I Got Rhythm, etc.)?

How was the Soliloquy from Carousel received?

What about the Rock Island audition from The Music Man? I liked that a lot, as it showed how versatile Hugh is.

He does have a fondness for Mack the Knife ( which he also sang at Whitesell's wedding). Was his agent there and did he get a shoutout?

Re the planned CD after TBFO - I wasn't too sure of the choice of songs then ( can't remember the rest now, apart from Smile)...but hopefully, in the future, there will be one -- now that his taste and experience in performing them has broadened.

Did he also sing One Night Only and the Medley?

Wish I had been there, too --envious, envious, envious

But thanks again - you always share the memories so well and so generously smiley-signs101



Jo

[jo]

Sue,

When I had seen that Darren Criss clip, referred to on a tweet, I looked him up on Wikipedia ( I do know him from GLEE, but nothing on his personal background).

*I was curious about his comment on having seen OKLAHOMA! and then saying that he could not quite believe that the same performer would become Wolverine. Darren is only 26 -- so he must have seen the Oklahoma! DVD, which he was referring to ( released 10 years ago in the USA, and much earlier in the UK), at which age, he must have been also a fan of comicbook heroes?

*I had forgotten that he had performed briefly on Broadway, as the replacement of Daniel Radcliffe in How To Succed in Business ( in an exhausting role too, as a triple threat) so he does have the cred to speak very sincerely about his respect for Hugh!

*Lastly, I did not know that his mother is a Filipina ... but I have not heard that he has visited here.

PS: Didn't he do a version of The Boy Next Door in GLEE not so long ago?

Thanks.

Jo

[jo]

Ellen,

Thanks for the word " melisma". I did not know there was such a word to refer to the manner of singing. I think I mistake it for "vibrato". But upon looking it up --

Vibrato (shaking) is the method of giving expressive quality to a note by rapid and minute fluctuations of pitch, a melisma on the other hand is a unit of melody (many notes) sung to one syllable.

Lol - I am still confused! I have wondered why a number of people who saw Les Miserables said they did not like Hugh's vibrato at all. I did not even notice that it was glaring... and did like the way he sang in the movie ( quite like in musical theatre) except of course that it was all a part of a full acting interpretation.

Jo

[birchie]

Oct 14, 2013 16:29:15 GMT -5 jo said:

Ellen,

Thanks for the word " melisma". I did not know there was such a word to refer to the manner of singing. I think I mistake it for "vibrato". But upon looking it up --

Vibrato (shaking) is the method of giving expressive quality to a note by rapid and minute fluctuations of pitch, a melisma on the other hand is a unit of melody (many notes) sung to one syllable.

Lol - I am still confused! I have wondered why a number of people who saw Les Miserables said they did not like Hugh's vibrato at all. I did not even notice that it was glaring... and did like the way he sang in the movie ( quite like in musical theatre) except of course that it was all a part of a full acting interpretation.

Jo

It is a bit confusing, Jo. I think of melisma as kind of a decoration in a piece of music. It can be overdone but the occasional use is very effective. Reminds me of the part of Red/Black that Marius sings and how Eddie joked with Michael Ball at the Premier in London that he didn't do the extra notes like Michael did it-"my world if she's not the-e-ere". As for Hugh's "vibrato" I don't know what they're talking about most of the others used much more vibrato than he did. Eddie, for instance used tons of vibrato.

It's too bad that Hugh got discouraged about the CD. He probably was exhausted doing it at the same time as TBFO so maybe that added to it.
I wish he's do a CD some day. He certainly has more experience, and he's a much more polished performer now too.
Sue

[roselady]

Yep Ellen tells it best. yes he did On night only and I agree his rendition of WHO AM I bought the house down and rightly so. We should also mention of course that he Did Tenterfield Saddler with JJ and THE WAY YOU LOOK TONIGHT his touching an heart felt tribute to Deb. Yep his humor was more risque thanI have xeen before but through all that he must be really tired he looked to be having the time of his life.

Oh and dont forget the honorary OZALOTS mention before the BFO medley.