Gyllenhaal Doing His First Broadway Musical

[mamaleh]

It's a 10-week run at the newly reopened Hudson Theater, a reprise of his City Center 3-day engagement in SUNDAY IN THE PARK WITH GEORGE opposite Annaleigh Ashford.

Which begs the question: If fellow A-lister Jake can do a very short run of a Sondheim musical in a not-grandiose theater, why not another popular leading man who has far more experience in the musical genre?

www.broadwayworld.com/article/SUNDAY-IN-THE-PARK-WITH-GEORGE-Starring-Jake-Gyllenhaal-and-Annaleigh-Ashford-to-Finish-the-Hat-on-Broadway-20161213

Ellen

[jo]

Because that other popular leading man likes to do new material...and new work has a much longer breakeven period

Plus if the new work is still in development, it is harder to predict when it can be completed and will be hard to place within his other schedule commitments?

And since the other leading man tends to accept film roles which are not usually indies ( as Jake G does), his filming commitments are harder to schedule.

But maybe if he changes his mind about the first two factors, he may want to do limited engagements, too.


Jo

[jo]

I was just thinking as I look at the BWW discussions these days -- aren't revivals starting to pall? Given the changing tastes because of changing/younger demographics, new material and new type of material (like HAMILTON and DEAR EVAN HANSEN) seems to reflect that the (younger) audiences are moving less towards revivals. The new theatre fan is rejoicing at the number of new musicals that are slated for the season. It is probably the older demos who do like revivals. The Lincoln Center revivals of Rodgers and Hammerstein worked (South Pacific, King and I) because isn't it subsidized theatre? Will the works of Sondheim/Lloyd-Webber/Boubil&Schonberg/Rodgers&Hammerstein/other older composers continue to appeal enough to sustain profitable runs? Plus you have some long-running shows which do not want to let go of their theatres ( Phantom, Chicago, Wicked) and thus makes it harder to get a theater slot.

Just a thought.

Jo

[jo]

Maybe if Broadway follows what the West End in London is doing by screening filmed versions of the shows, it will make the break-even point easier to reach? That could work for established work even without movie stars. Or can make new work with movie stars reach a shorter breakeven period?


Jo

[jo]

Back to the other leading man -- he has already established his reputation as a star in a major movie musical...and if the genre becomes more and more supported by movie audiences, then if this leading man solidifies his standing and the genre's appeal in his forthcoming new movie musical, then this could become is preferred medium for showing off his triple threat talent


We'll see...

Jo

[mamaleh]

My point was, since new material has such a long gestating process, I would hope that if HJ really wants to keep his stage muscles in shape--specifically musical stage--then maybe he will take a page from former costar Gyllenhaal's book and think about a short-term revival of some favorite material. I'll bet all he'd have to do is say he's open to it and the floodgates of willing producers would open. Of course, he could always say it's time for another BACK ON BROADWAY with perhaps some newer material.

I don't think the era of revivals is dead, just that the particular iconic piece should speak to today in some way, whether a new interpretation by an innovative director or an updated book. SUNSET BLVD is coming back early next year, and revivals of SWEENEY TODD, MISS SAIGON, HELLO DOLLY, BEST LITTLE WHOREHOUSE IN TEXAS and yes, another GYPSY, are listed as upcoming over the next two seasons.

Ellen

[jo]

Ironically, the new revivals of SUNSET BOULEVARD, MISS SAIGON, GYPSY, and even SWEENEY TODD used LONDON as the staging point this time. Is the UK ( including festivals like Chicester) being used to test out revivals because of the less expensive costs? Even the Alan Doyle concept ( of actors playing the musician roles as well) have worked there first before being brought to Broadway ( that is how I got to see SWEENEY TODD with Cerveris and Lupone). And the use of small theatres ( like the Menier and the Donmar in London, which are something like 300-seaters) have given life to musicals on a more economical basis -- but are broad audiences on Broadway keen to see simpler adaptations ( no elaborate sets and costumes)?

When you think about it -- Sunset Boulevard, Miss Saigon, and Gypsy are really American stories!

HELLO DOLLY sounds like the quintessential beloved American musical that appeals to a wide range of taste. It is not revived often but it retains its charm musically and characterizations-wise. And of course the enduring musical charm of RODGERS AND HAMMERSTEIN always finds its broad appeal with American audiences, foreign tourists included.

Sondheim musicals are king on Broadway, but do they appeal to most Americans, as they sometimes sound like acquired taste?

Just some thoughts!



PS: With Hugh's filming schedule probably made more flexible now ( when there is no looming every-three-year commitment to any Wolverine-related action movie), he is probably rethinking his career direction and how the stage fits into all of it. Fortunately, since he is a resident of NYC and almost in the heart of Broadway, his instincts will even be sharper as to what theatre crowds find very appealing. But contending with musical theatre is his love for dramatic plays ( which is what he trained for!).

And when he did the reading for ON THE 20TH CENTURY, maybe he already wanted to test his feet in the revival camp? Too bad that did not come off.

Jo

[jo]

My dream musical theatre performance for Hugh would be for him to act out the roles in the more popular Rodgers and Hammerstein musicals in repertory style -- maybe alternating portrayals of R&H heroes every two weeks ( either as Curly, The King of Siam, Emile deBecque, Captain Von Trapp, and Billy Bigelow) -- that is ten weeks for you

He does have great affinity with Rodgers and Hammerstein musicals and roles!

I have also thought about Prince Charming, but he may be a little too mature for that role

But I have always been enamoured of this concept for Hugh *heart*

Hey, he need not sing only the songs attributed to the male lead. Maybe a naughty version of " I am the Man Who Can't Say NO" ? OR sing "You'll Never Walk Alone" or alternate between " There Is Nothing like a Dame" with " I'm Gonna Wash that Girl Out of my Hair" or maybe " Carefully Taught" ( very apt today!), and maybe a non-King-song like all other songs in King and I...and " The Sound of Music" with of course "Edelweiss"



PS: It would bankrupt every fan because one would want to see him in each performance at least twice or even thrice -LOL. Unless he does the all-in-one show by featuring all 5 musicals in one show!

Maybe one show which includes all 5 musical charaterizations -- call it "Hugh Jackman's Broadway"!


Jo

[mamaleh]

Well, I don't think the R&H Org would take too kindly to a ribald version of "I Caint Say No," as they're pretty protective of their properties.

But I like your dream title for a potential HJ return to the concert stage. After all, he does own the Great White Way when he reappears.

Ellen

[luzie]

Well, when he returns to stage, it should really happen in London this time! Or, he should tour with his one man show through a few European countries at first before he returns to Broadway once again. It's about time that he delights his European fans too! And everyone else feels free to come here just like all his fans who don't live in or near NY have to travel to NY for his countless shows on Broadway.

[mamaleh]

Valid point. He's been promising a show in London for years. I hope it happens for his European fans.

Ellen

[jo]

I remember Brit Baz Bamigboye reporting that the possibility of a London run of BACK ON BROADWAY was being looked into when Hugh was just announced for LES MISERABLES, or thereabouts. But it never pushed through. The irony is that the producer of BACK ON BROADWAY is Brit Robert Fox ( who also produced THE BOY FROM OZ, both on Broadway and Australia). I think it is usually the case that a producer has to work out the economics of the show and then find the funding, before organizing the show. I had once asked Brit Michael Ball if there is a chance for him to come to Manila which has a thriving concert scene with famous artists ( as he has already had two concert series in even further Australia) -- and he said candidly that " someone has to bring me there" -- referring to someone who will produce the show.

I think that was how people from Turkey got to see him in his one-man show!

But since Hugh has ties with England ( he does have a Brit passport as well) and has filmed there thrice ( Les Miserables/Scoop/Pan), London is still a strong possibility. But he did decline to do A STEADY RAIN in London when it was first offered to him because he did not want to stay away from his family for a long period ( even for a limited engagement - because he will be tied up to the show for the whole week with only one day-off and therefore could not work out a regular family visit) ... the producers and Daniel Craig had to agree to bring it to Broadway.

Recently, Hugh mentor Trevor Nunn, said that he would like to bring the new Stephen Schwartz musical called "Schikaneder" ( which premiered in Vienna, under Nunn's direction) about the lyricist partner of Mozart in The Magic FLute to either London or Broadway, He also said that he had Hugh Jackman in mind for the lead role. If I remember right, the show was to supposed to be reminiscent of KISS ME KATE. No word on that yet.

Other than the remote prospects of " Schikaneder" possibly in London -- Hugh may want to work on a new show altogether ( not necessarily new material, could be a revival), which would likely be staged on Broadway. Although sometimes he springs surprises

We'll see...


Jo

[jo]

Ellen,

Have you read the latest Michael Riedel post? Are you familiar with the new musical (Band's Visit) that he is talking about?

nypost.com/2016/12/15/will-bands-visit-make-the-jump-to-broadway/

He said that it may land in the fall, because there are no decent-sized houses available.

Hmmm... after LARRIKINS and before promotion for THE GREATEST SHOWMAN, I wonder what Hugh might be doing? Could this musical be suitable for him?



PS: I found this set of brief rave reviews about the show --

atlantictheater.org/playevents/thebandsvisit/

And this synopsis --

An Egyptian Police Band arrives in Israel to play a concert. After a mix-up at the border, they are sent to a remote village in the middle of the desert. With no bus until morning and no hotel in sight, these unlikely travelers are taken in by the locals. Under the spell of the desert sky, their lives become intertwined in the most unexpected ways. A new musical based on the critically acclaimed screenplay which received 36 major international awards.

www.playbill.com/article/what-do-critics-think-of-the-bands-visit

Hmm...not sure if this is for Hugh


Jo

[mamaleh]

Yes, I'm familiar with that movie, which I saw several years ago. I was hoping to see the musical version, but it's in a small, 10-row theater and sold out quickly. Tony Shalhoub and John Cariani (SOMETHING ROTTEN) costar. I'm hoping they'll be able to reprise their roles if/when THE BAND'S VISIT transfers to B'way.

Ellen

[jo]

It looks like that - about the casting!

It does sound like very good musical comedy.


Jo