Hugh Jackman in THE RIVER on Broadway

[chessie]

I have a question about Hugh's performance in the River. What sort of accent is he using? I haven't seen this mentioned anywhere and I'm kind of curious. Thanks.

Carol

[jo]

Harvey J Kaye ‏@harveyjkaye · 4h4 hours ago
Hugh Jackman on Broadway @hughjackman

[njr]

Dec 23, 2014 21:20:00 GMT -5 chessie said:

I have a question about Hugh's performance in the River. What sort of accent is he using? I haven't seen this mentioned anywhere and I'm kind of curious. Thanks.

Carol

Yeah, I was wondering that too!

Nancy

[foxie]

I believe his regular voice!

[ruby]

Dec 24, 2014 7:31:29 GMT -5 foxie said:

I believe his regular voice!

As per his dialect coach, Hugh is using a British accent in the show.

[mamaleh]

It sounds to me like a British-Aussie mix.

Ellen

[JH4HJ]

Dec 23, 2014 21:20:00 GMT -5 chessie said:

I have a question about Hugh's performance in the River. What sort of accent is he using? I haven't seen this mentioned anywhere and I'm kind of curious. Thanks.

Hugh uses a "generic" British accent (though a smidge of Aussie slips through occasionally). Nothing "posh" but definitely not Northern or lower class - sort of like a "news reader" (here or there); it's pretty nondescript, but definitely English not Aussie.

It disappears immediately when the play ends - it's his "real" voice for the auctions. I've noticed that the Aussie accent has softened in recent years, definitely less than during TBFO (on stage or off) but you can hear him "crank it up" when he does radio/interview things with his pals from Down Under.

[Peter was the same way. His accent almost disappeared after many years living in the US, but it came back strongly even when he talked about Australia.]

[jo]

His accent sounded not like a very pronounced British accent ( check out your BBC received accent as guide, or the way Ian Rickson spoke in the TimesTalks interview). It sounded more like the generic accent he uses in movies although he pronounces certain words like a Brit. A few times, you could hear him with his real-lfe way of speaking (although as most have noted, that has softened with years of doing movies and years of living in NYC). Definitely not like Cush, whose accent is typically British ( Laura has a lilting Irish accent).

Did I read earlier that Jess and Hugh were working on a stronger English accent during previews but sort of gave it up later, for the accent you now hear him with in the play?


Jo

[jo]

Hugh Jackman @realhughjackman
· 57m 57 minutes ago
Sending wishes for an awesome holiday! @theriverplay

http://instagram.com/p/w_tsLmihNN

In the garb of THE MAN!

LOL - there was a tweet from Europe which noted, jokingly or not, that he was wearing strange clothes.


Jo

[jo]

In this blog review, it noted that the locale of the play was not mentioned ( even noting the three different accents).

11/17/2014


Hugh Jackman Goes Fishing for Love in ‘The River’ on Broadway: REVIEW


BY NAVEEN KUMAR

Watching a fisherman means a lot of waiting around for something to happen. If that fisherman happened to be a strapping, Tony Award-winning movie star like Hugh Jackman, you may be very pleased to do just that. Sitting perched around director Ian Rickson’s intimate production of The River, a poetic but uneventful new play by Jez Butterworth (2011's acclaimed Jerusalem) that opened at Circle in the Square last night, feels a lot like looking at the surface of a stream, knowing the best bits are underneath, just out of reach.

To be fair, events do actually take place in The River, but mostly offstage, outside the confines of this remote, rustic cabin (from the actors’ mix of Australian, Irish and British accents, where exactly is unclear), or at another time the audience doesn’t see. The Man, as Jackman’s character is called in the program, has made a habit of bringing his lovers here to share with them his ultimate true love: fly fishing.

Over the course of the drama’s 90 minutes, we witness two such women (played by Cush Jumbo and Laura Donnelly) making this pilgrimage (at different times, of course), their scenes interspersed though their storylines follow the same path. How many women there have been, when they came or which came first remain open questions. We do know that the same tends to happen with each (a moonless, nocturnal trip to the water, fumbling first declarations of love) and that his conversations with them are substantively the same (history repeating, uncannily and with subtly sinister undertones).

There is, naturally, much passionate talk about fishing, much of it made to sound very compelling, thanks to a vivid and sensitive performance by Mr. Jackman. If your mind paints pretty pictures, Butterworth’s language has no shortage of superfluous color and detail. The Man’s passion, though, so clearly coursing through his aquatic oratories, is curiously (and conspicuously) absent in his relationships with both women.

Much like the play’s fishing, intimate moments between its characters don’t happen on stage; rather, they are referred to and described in the past tense (“Yesterday in this room after we made love”). Onstage, the pairs hardly touch. (He's an island!) Were their desire electric, this could well be hotter than any show of physical affection, but it isn’t. This can hardly be blamed on the production’s comely actors; both Ms. Jumbo and Ms. Donnelly are fine performers.

If the simplest of the play’s many conceits is (spoiler alert!) the women are the fish—migrating past as the man tries to connect with them—watching as they slip through his fingers is actually less exciting than the rush he describes of hooking and then losing hold of a wild trout.

[jo]

Laura DonnellyVerified account
‏@donnellylaura1 About to start our last @theriverplay show before Christmas! Merry Christmas everyone. Stay safe and have fun xx

[jo]

Who else were noted as coming to see the show?

I remember Liev S and Naomi W.

Ben Vereen

Barbara Walker


Not sure who were at Opening Night - except for friends like Ivanka T and Anna Wintour.

[mamaleh]

Swift caused quite a stir today. I think she helped drive up the bids! If I heard what I think I heard , Hugh himself ended up throwing.$6,000 in to match TS and another bidder. A first!

Frances McDormand was at the show, too, as was a giggly Keala Settle, a Bway actress I recognized (HANDS ON A HARDBODY, current LES MIZ). After the show, Hugh said he recently did a workshop with her of GREATEST SHOWMAN ON EARTH in which she played the Bearded Lady. We agreed how ebullient and fun she is. (I didn't realize movies held "workshops.")

Ellen

[jo]

How many other Christmas presents were like this

Rachel Timberlake @rachel_Key17
· 6m 6 minutes ago
Like omg, I almost died when she gave me that present. I love Hugh Jackman soooooo much and it is my dream to see him in person



Rachel Timberlake @rachel_Key17
· 6m 6 minutes ago
I legit have the best mom in the WHOLE ENTIRE WORLD!!! For Christmas, she got me tickets to see Hugh Jackman in his Broadway show

[jo]

The Hugh/Taylor Swift photo has landed on PEOPLE and TIME.com --

www.people.com/people/package/gallery/0,,20319528_20886868_30274566,00.html?xid=socialflow_twitter_peoplemag


time.com/3647412/taylor-swift-hugh-jackman/?utm_source=newselk&utm_medium=twitter&utm_campaign=Feed%3A+time%2Ftopstories+%28TIME%3A+Top+Stories%29

Hugh Jackman @realhughjackman
· Dec 24
Lovely to see @taylorswift13 and her family. Merry Christmas Eve to all xoxx

http://instagram.com/p/xASir6ihNt

Excellent publicity to a broader audience!


Jo

[jo]

I rewatched the trailer of PAN.


I think his English accent is a little more pronounced here --

www.youtube.com/watch?v=tjW1mKwNUSo

"Bishop!" sounds more like the clipped accent of a Brit.

Blackbeard, or Edward Teach, on which the character in PAN is based, is a real-life privateer in England's history.



Jo

[jo]

www.wsj.com/articles/broadway-shows-embrace-celebritiesand-put-up-with-their-fans-1419811600

NY Culture

Celebrities—and Their Fans—Do a Number on Broadway

New Audiences Have Sparked New Security Measures


By
Pia Catton
Dec. 28, 2014 7:06 p.m. ET

Broadway increasingly relies on celebrity casting, but this year, with Hugh Jackman, Emma Stone, James Franco and other A-listers on stage, theaters have been spending ever more time cracking down on shutterbugs, hecklers and the throngs of fans at the stage door.

The scrums that are now nightly, traffic-blocking headaches for security and police “only used to happen with, say, Burton and Taylor,” said the longtime theater director Gregory Mosher.

“The River,” a solemn play starring Mr. Jackman, better known as Wolverine in the “X-Men” movies, draws so many star-struck, picture-snapping attendees that the production resorted to sending out an understudy before the show to remind them to turn off their phones. In November, Time Out New York published a guide to what not to do at the show, including “Applaud Hugh’s entrance” and “Clap after every scene.”

At one performance, when Mr. Jackman asked his co-star if she’d like whiskey or wine, an answer came from the audience: “Wine!”

A representative for the show declined to comment.

Similarly, peals of laughter during serious moments occurred during Mr. Franco’s run in “Of Mice and Men,” changing the feel of the Depression-era drama.

“With James Franco in ‘Of Mice and Men,’ or with Bradley Cooper in ‘The Elephant Man,’ there are large groups of fans of those actors,” said James Calleri, a casting director who worked on both productions.

Interruptions like these have been occurring for years, but according to theater insiders, they are on the rise.

“People in the audience want to be seen,” said Laura Benanti, a frequent Broadway actress, most recently in “Women on the Verge of a Nervous Breakdown.” In the 2008 revival of “Gypsy,” she once needed a second to collect herself when a fan yelled “I love you, Laura!”

Movie stars have long sought Broadway roles as a break from Hollywood, a return to a more intimate venue or a way to burnish their credentials as serious artists. Theater productions benefit from their fame, since having mainstream celebrities in a cast ensures name recognition among tourists and other prospective ticket buyers.

Currently, celebrities such as Mr. Cooper, Maggie Gyllenhaal, Glenn Close, Sting and Alan Cumming can all be seen in Broadway shows. Weekly ticket sales to “The Last Ship,” the story of struggling shipbuilders, jumped to $817,897 in the week ended Dec. 14, when Sting joined the cast, compared with $491,910 the prior week, according to figures reported by the Broadway League, the national trade association for the industry.

One of the season’s success stories, “It’s Only a Play,” brims with celebrities, including Matthew Broderick, Stockard Channing, Megan Mullally and Nathan Lane—soon to be replaced by Martin Short. It raked in $1.4 million in the week ended Dec. 21.

In many cases, productions are able to happen mainly because of their famous leads. “For producers, these shows are very expensive to put on, and they want to make sure there is upfront interest,” said director David Leveaux, who led the 2013 production of “Romeo and Juliet” starring Orlando Bloom.

Ideally, of course, great actors add more than fame to the equation. “It’s about finding the perfect balance of art and commerce,” said Mr. Calleri.

In 2006, he brought the singer Usher to “Chicago,” a musical that has sustained interest since 1996 with fresh rounds of celebrities. Usher “brought an entirely new audience that would not have seen that show,” said Mr. Calleri.

New audiences, however, have sparked new security needs, particularly around the stage door that cast members use to enter and exit the theater. Fans, sometimes ones who didn’t attend the production, flock to them, so that most Broadway stage doors are now flanked by steel barricades.

“At ‘Cabaret’ it’s insane,” the show’s executive producer Sydney Beers said of the crowds. “It feels different, kind of like an entitlement.”

Security is typically coordinated between the theater owner and the production, occasionally with the help of the star’s own personal security. The New York Police Department focuses on crowd control.

Sting’s arrival in “The Last Ship” has made stage-door crowds swell. And Rupert Grint, a star of the “Harry Potter” movie series, has been besieged outside the stage door of “It’s Only a Play,” where he receives everything from selfie requests to marriage proposals.

Some theaters have escape routes, such as the Bernard B. Jacobs Theatre, where Angela Bassett and Samuel L. Jackson were onstage for the play “The Mountaintop.”

“After the first preview, there were meetings about how do we get them out of the theater,” said the Broadway press agent Rick Miramontez, who recalled that instead of the stage door, the cast could use what became known as “the Madonna Door,” an exit the singer used when she appeared in 1988’s “Speed-the-Plow.”

In some shows, the stage is designed for interaction, such as the tables and chairs that create a nightclub feel at “Cabaret.”

That can lead to anything. The actor Shia LaBeouf pleaded guilty to disorderly conduct in September after disrupting a June performance.

But more typical, said Ms. Beers, is an audience member waving or reaching out to Mr. Cumming and saying, “I want to be danced with!”

*In all the 6 shows I saw The River, there was always engrossed silence, with the occasional humor-provoked laughter. And you can almost literally hear a pin drop. Maybe because the play was a serious piece of theatre. Or that Hugh fans have learned to distinguish between shows like TBFO and the serious straight plays? Or the auctions provided the outlet for interactions between Hugh and the audience that was more the rule for TBFO and Back on Broadway?

*I don't know what provoked that article re behavior of the audience at The River, but it was probably just the first week exhuberance of seeing Hugh back on stage ...Now, it seems it is the entrance applause for Hugh which signifes the regard and affection the audience have for him.

*Hugh has been a regular performer on Broadway - 4 shows from 2003 to 2014, plus 4 hostings of the TONYs. He is as much as part of the theatre scene as Hollywood.

*Hugh has always been gracious at the stagedoor, no hidden exits. He even spends time before the show at the stagedoor when many actors feel that pre-show time should be sacred time ( when they start to prepare mentally for the coming performance)? But then that has always been Hugh!

Jo

[jo]

Was this special toast at CIRCLE IN THE SQUARE?





Jo

[ruby]

Dec 28, 2014 19:59:56 GMT -5 jo said:

Was this special toast at CIRCLE IN THE SQUARE?





Jo

Toasting the bride

[jo]

Another interview with Laura Donnelly --

www.interviewmagazine.com/culture/laura-donnelly/print/

Laura Donnelly's River Dance


Inserted into the program of The River, Jez Butterworth's new Broadway play, is a poem by W.B. Yeats, "The Song of the Wandering Aengus." In it, the narrator waxes about a transcendent experience while trout fishing—a freshly caught fish is transformed into a flighty woman, a "glimmering girl." In the play's opening scene, trout fishing is mythologized once again in lyrical form, this time when Hugh Jackman's unnamed protagonist, The Man, reads a poem by Ted Hughes to his new girlfriend, The Woman. Alone in his uncle's old cabin, The Man attempts get The Woman to join him fishing, but she is reluctant. Finally she agrees, and they disappear. When the couple returns, however, The Woman, played by Cush Jumbo, has been replaced. Instead, there is The Other Woman (Laura Donnelly), more passionate and more flirtatious in manner.

The Man seems equally infatuated with both women—he professes his love for each one of them as passionately as he speaks about trout fishing—and yet, it seems clear that neither will last past the weekend. They are too clever, and The Man, sending each one to fetch a memento from a box containing another woman's picture, seems bent of self-sabotage, conscious of his own underlying insincerity.

The River first debuted at the Royal Court Theatre in London in 2012 with Dominic West starring as The Man. Belfast-native Laura Donnelly is the sole original cast member to resume her role on Broadway. Although Donnelly has spent a good portion of her career onstage in London, she was recently the object of Jamie Dornan's murderous obsession in the first season of Netflix's The Fall, and currently plays Jenny Fraser on Outlander, Starz's cult time-traveling fantasy series set in the Scottish Highlands.


EMMA BROWN: You first did The River in 2012 in London. I didn't realize that it only ran for three weeks.

LAURA DONNELLY: The Royal Court then—not so much now 'cause they've got a new artistic director—they always did three week runs. It was all about new writers and new plays, and the plan was always, if they do well, to move them onto another venue, possibly the West End. That was always the plan for our play. It just didn't happen to work out because of availabilities of the other actors. Then Hugh Jackman showed interest and it just seemed to make much more sense to bring it out here instead. But it's such a pleasure to get to do it a second time.

BROWN: It doesn't feel strange to get back into the rhythm of the play with a new set of people?

DONNELLY: Not at all. It just feels like a different production. I was concerned about that; I've never done that before. I've never revisited a play, even with the same cast—never mind a different cast—but our director, Ian Rickson, has done that a lot. He did it a lot with Jez [Butterworth], our writer. Jez's last play, Jerusalem, they had done in four different versions. The first one was at the Court; the second was in the West End. It was brought over to Broadway and then it went back to the West End again. Each time there was a little reshuffling of casting and Ian just started from scratch. He said, "Don't worry about it. Don't think about it, just treat it like a whole new thing." And that's what I did, so it genuinely feels that way. I've discovered whole new things to it, to my character and to the play itself as a whole that I didn't have the first time around.

BROWN: Did you ever consider switching characters—playing The Woman instead of The Other Woman?

DONNELLY: No. [laughs] I became immediately attached to The Other Woman. I did, in my very, very first audition back in 2012, read for The Woman first. We were given a choice of which one we wanted to read for when we came in. I read for The Woman and immediately Ian said, "I think you're much more Other Woman. I want you to come in tomorrow and read for her." From that moment, I saw he was absolutely right. And I just really fell in love with the character. Even had I been given a choice, there's no way that I would have swapped.

BROWN: What made you choose The Woman first?

DONNELLY: I thought that I was more similar to her in who I was, and possibly in the past I had been, but my life had been getting to a point where I was tipping much more into the character of The Other Woman, and Ian Rickson seemed to spot that in me before I did. I guess that newer side of me—things I was learning as I was growing up—was really informing my audition and vice-versa. The character of The Other Woman as I went on to work on it informed me just as much, and had as much of an effect on my life as well. We kind of became one. [laughs]

BROWN: Is it normal for a character to have such an impact on you?

DONNELLY: No, not such an impact. There are always lines that blur whenever you're involved in such an intense process. Any rehearsal process—I find, anyway—does have quite an effect on me and I very much live in that world for the whole period of time that I'm involved with the production. But normally, afterwards with a little bit of space I can come right back out of it again. That didn't so much happen this time around. I think it's the nature of the play; it just taught me a lot of how I wanted to be living my life.

BROWN: How has the audience been on Broadway compared to at the Royal Court?

DONNELLY: [In London] our audience was a very specific one because we put the play on Upstairs at the Royal Court, which is the tiniest space. We had about 85 people in there a night, even if that, and so it was a very different atmosphere. Because it was a Jez Butterworth play post-Jerusalem, there was a lot of buzz around it and they had to do it in such a way that the tickets were given out on the day, so it was very intense. The Broadway audiences are incredible. Something Hugh Jackman had told us before we had had any previews, was that he thinks that the Broadway audiences are the most intelligent, and I completely agree with him. You have this real sense that they are with you in every single word, every line, they get everything, they're listening so intently and they are just willing you. You can feel it from them. Then the response that we get afterwards, the direct response in terms of the applause—they're on their feet—it's so kind. I think it is the most wonderful atmosphere.

BROWN: Another actor once told me that at his agents' Christmas party, all the women make a beeline for Dominic West.

DONNELLY: [laughs] He has a charm, he definitely does. I adore him. He's such a nice guy, but he has this real ability to not take himself too seriously and I bet that's what the women are attracted to.

BROWN: Did audiences react differently to Dominic West than they do to Hugh Jackman? When I saw the show, the audience went nuts as soon as Hugh Jackman walked on.

DONNELLY: That's not a British audience thing to do at all.

BROWN: It's quite unsettling.

DONNELLY: It certainly was for us the first time. Hugh was aware of the fact that this was a possibility, so we had discussed what might happen in terms of delivery of the lines at that point. Then he walked on stage for the first preview and exactly that happened. It's a really crazy thing for me and for Cush to witness, because it's such a quiet little play—it's not like he's coming on to do a number. I would expect that kind of entrance applause in a musical, obviously; they would do that in the UK. But it's great! It's Hugh Jackman. People really want to see him and they're so excited and that's why they're there. If they want to applaud, then brilliant.

BROWN: What was your fist ever role in primary school?

DONNELLY: As with all Irish-Catholics, it would have been the nativity play—I was a sheep—when I was about five. But throughout my childhood I did a form of Irish dancing that was kind of the precursor to Riverdance. It was a mixture of ballet and Irish dancing that my teacher, Patricia Mulholland, had invented, essentially. It was Irish ballet and she would create performances based around the myths and legends of Ireland. From about the age of eight, I was on stages and theaters in Northern Ireland playing the kids' parts in those. It was never speaking, but it was this form of dance that told those stories, so I got a lot of experience of just being on stage and that's absolutely where the theater bug bit.

BROWN: You went to the Royal Scottish Academy of Music and Drama. What made you choose Scotland for drama school?

DONNELLY: It was a mixture of a couple of things. I had spent a lot of time there on holiday with my family. My family developed this love affair—that I think was mostly driven by my mum—with Scotland. Then I knew that if I was going to pursue acting as a career, I was probably going to have to spend the rest of my career in London. I thought, "I might as well experience somewhere else first before I have to move down there," so Scotland seemed to be the right choice. I had known somebody who had studied at the RSAMD and had absolutely loved it. That was the only drama school I applied for. It was the only one I was interested in going to.

BROWN: What do your parents do? Are they creative?

DONNELLY: No, I don't come from a particularly creative family. I think my mum would have loved to have gotten into something, probably dance, but she came from a very, very small town in rural Ireland right in the heart of the Troubles and really didn't have those kinds of opportunities. It wasn't a realistic option for her. She had moved to Belfast at about 16 or 17 to be a nurse and my dad was a doctor and that's how they met. She's got a creative spirit and that's definitely where I get it from.

BROWN: Do you feel like Northern Ireland is well represented in the arts?

DONNELLY: Probably not as well represented as the other cities in the UK, but I think that's a lot to do with its history and the difficulty of the last 50 years or so. But it's developing so much quicker I think than anywhere else, so it has a really good future ahead of it.

BROWN: I feel like, before The Fall, every film or television show I had seen set in Northern Ireland or Belfast was about the IRA.

DONNELLY: Absolutely. That was the joy of reading that script the first time—that's why I really wanted to be involved in it. It wasn't the usual story, it was showing a different side of Belfast and really placing it as if it could be any other city in the UK or Europe. And I think—not that we want to forget everything that happened, 'cause we've learned so many lessons and it's made us the country that we are, it's brought us humor and understanding and sensitivity and many other things—but to have an opportunity to put ourselves out there like any other city, I think is really lovely.

BROWN: Where is Outlander filmed?

DONNELLY: Outlander is filmed mostly around Glasgow and the central belt of Scotland, so it's lovely for me because I get to go up and spend time in the place that I lived for three years. I've got a bunch of friends in the cast because a lot of them studied at the same college as I did, and I get to see my family, most of whom now live in Scotland. It's a perfect job in that location sense.

BROWN: Do most of the people you studied with live in London?

DONNELLY: A bit of a mixture. Not everybody continued with acting. Some gave up straight away; they decided they wanted to pursue a different area of the industry or get out of the industry completely. But for those of us who are still acting, I would say maybe half of us are in London and half in Scotland. If you are actually Scottish, as an actor there's a really great industry. They have a brilliant theater scene, they do a lot of filming, and you can really make a career out of being a Scottish actor in Scotland. I think the ones who moved down tended to be the ones who weren't originally from Scotland.

BROWN: Was a Scottish accent something that you had to master in drama school?

DONNELLY: We certainly were taught aspects and we were required to do it in productions, but it's not something I ever had to sit down and really concentrate on. To be honest, accents are one of those things for me, personally, that usually come quite naturally by just listening to the people. Living there for three years, it just came naturally. When it came to Outlander, we had to specify it to the highlands a little more, so I did have to do a bit of vocal lessons with a dialect coach there. But not much, it was a case of just tweaking it in certain ways to kick it up further north of the country.

BROWN: Sam Heughan, who plays your brother on Outlander, was someone who you studied with as well, right?

DONNELLY: Yes, he was the year above me in college, so we've known each other a good decade.

BROWN: Had you kept in touch?

DONNELLY: Yeah, he lived near me in London for a long time and I would see him on and off. As actors, you're always working elsewhere, and you're constantly saying, "Let's meet up for a catch-up and a coffee," and it doesn't happen from everybody's schedules. But I had seen him on and off over the years and then we did a film in Norway together called Heart of Lightness during the summer just before we started Outlander. He's just great–so much fun to be around. He's such a lovely guy.

BROWN: Were you both already signed on for Outlander when you were filming in Norway?

DONNELLY: He had just been cast and it got announced while we were doing the filming in Norway, which was crazy. He suddenly got the effect of the Outlander fan base. [The day it was announced] we were sitting on set and his Twitter followers were going up by tens of thousands by the minute. It was crazy! I think at that point I had auditioned once, but I hadn't been cast. I think I got cast after we got back from Norway.


THE RIVER IS CURRENTLY IN PERFORMANCES AT THE CIRCLE IN THE SQUARE ON BROADWAY.

[mamaleh]

At tonight's performance, when Hugh sat on the edge of the table, he accidentally landed on the handle of the sharp knife used to cut the fish. His "Oops!" ad lib sounded perfectly natural and obviously appropriate.

After the show, he laughed about it and said he was just glad it wasn't the other end of the knife.

Ellen

[jo]

He can't be trusted with a knife around, unless they are attached to his knuckles

Jo

[jo]

It seems there is a second understudy fish

Hugh Jackman ‏@realhughjackman · 9m9 minutes ago
Take me to the river ....@theriverplay

http://instagram.com/p/xZ8Z5ZihH2

It seems he even went to musical theatre school <giggle*>

[foxie]

Heavens these were out 5 years ago!!!!

[jo]

LOL - the fish's agent might have sent this audition piece to Sonia Friedman and Ian Rickson

http://instagr.am/p/xZ8Z5ZihH2