World Tour 2019

[jo]

Thanks for the stats, hughmanity!

It's a chart we never expected to see the name HUGH JACKMAN in a gallery of rock stars

He probably never envisioned that possibility, too



However, the data is incomplete ( at least for the Jackman tour), as the reported stats are only for 69 shows, out of the 90 engagements completed by Hugh for #tmtmts!

Number of shows - 69

Total receipts - $ 70,710,337

Total attendees - 792, 537


Average receipts per show, based on reported 69 shows - $ 1,024,787

Average attendance - 11,486


There are reported figures on the Wiki notes for the tour. Data is also incomplete, but it seems the Billboard figures may have represented the receipts only for the Europe/USA/Canada tour.

en.wikipedia.org/wiki/The_Man._The_Music._The_Show.


The tour figures for Australia/New Zealand/Mexico account for 22 shows. This will bring up the total number of shows to 91 ( against actual 90). It is not sure which shows the Billboard report covers.


If we are to extrapolate to 90 shows, using the $ 1.024 Million as the average receipts, total receipts for the 90 shows are likely in the range of $ 90-91 Million!


Jo

[jo]

This report from the Associated Press via The Washington Post tells a slightly different story -- this was posted on Hugh's Instagram Stories, so maybe there is more credibility?


www.instagram.com/stories/thehughjackman/

Or is it possible the data are not comparable with how it was presented at BillBoard/@touringdata? In the AP report, are the figures simply the simple average of the average gross receipts per city (not the simple average of all of the shows taken individually for each show?)?




www.washingtonpost.com/national/top-20-global-concert-tours-from-pollstar/2019/12/05/6f3136e4-17b9-11ea-80d6-d0ca7007273f_story.html

Washington Post Live


National
Top 20 Global Concert Tours from Pollstar

By Associated Press
Dec. 6, 2019 at 7:46 a.m. GMT+8

The Top 20 Global Concert Tours ranks artists by average box office gross per city and includes the average ticket price for shows Worldwide. The list is based on data provided to the trade publication Pollstar by concert promoters and venue managers. Week of December 4, 2019:


TOP 20 GLOBAL CONCERT TOURS

1. Elton John; $2,870,863; $130.86.
2. Sandy & Junior; $2,260,403; $54.38.
3. Phil Collins; $2,145,965; $144.69.
4. Guns N’ Roses; $2,003,111; $127.13.
5. Muse; $1,921,982; $85.11.
6. Post Malone; $1,913,809; $116.49.
7. Ariana Grande; $1,869,662; $93.54.
8. Jonas Brothers; $1,700,530; $104.72.
9. Hugh Jackman; $1,691,200; $83.50.
10. Tool; $1,528,054; $103.77.

11. Cher; $1,485,624; $127.42.
12. Eric Church; $1,471,468; $85.74.
13. John Mayer; $1,427,545; $95.41.
14. Iron Maiden; $1,302,161; $63.86.
15. Michael Bublé; $1,297,724; $111.91.
16. Little Mix; $1,274,903; $58.85.
17. Bob Seger & The Silver Bullet Band; $1,250,039; $117.47.
18. Zac Brown Band; $1,241,128; $60.24.
19. Backstreet Boys; $1,234,347; $98.73.
20. Florida Georgia Line; $1,219,752; $68.38.

Copyright 2019 The Associated Press. All rights reserved. This material may not be published, broadcast, rewritten or redistributed.
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[jo]

While looking for an interview, I found this one from the NYTimes written late in the run of TBFO, actually only a few days before the closing show of TBFO on Sept 12, 2004.

Many of the things Hugh say here were probably true for his music tour...and will likely be true when he goes back to Broadway for a yearlong run in The Music Man. The music tour probably required the same amount of physical involvement ( and exhaustion)...while thankfully the role of Harold Hill may not be as strenuous as the Peter Allen one ( some 20 songs and exhausting dance routine) --


www.nytimes.com/2004/09/05/theater/arts/theater-debriefing-eight-days-a-week.html

Theater


THEATER: DEBRIEFING
THEATER: DEBRIEFING; Eight Days a Week

By Jesse Green
Sept. 5, 2004



WITH its pharmacopeia of teas, powders, pills and soothing cinnamon candles, Hugh Jackman's dressing room at the Imperial Theater is little more than a pit stop for his eight-times-a-week endurance marathon. Singing in 20 of the 27 numbers in "The Boy From Oz," he is onstage for all but three or four minutes. Critics reviewing the opening last October were glad of his omnipresence, applauding his Broadway debut as the flamboyant performer and songwriter Peter Allen, while panning almost everything else about the show, especially its schematic and sometimes cringe-inducing book. But Mr. Jackman's charm made the production (which improved with time) a hit anyway; when it closes next Sunday, after 32 previews and 365 regular performances, it will have recouped its initial investment of $8.25 million on gross ticket sales of more than $42 million.

Astonishingly, when Mr. Jackman sat down for a conversation a few weeks before closing, he had not missed even one of those performances, a feat that gave him, he said, a masochistic thrill but had also taken its toll. Two hours before a Friday night curtain, when he should have been eating his dinner, he talked about what the experience had meant, and done, to him.

JESSE GREEN



JESSE GREEN -- How tired are you?
HUGH JACKMAN -- At the end of an individual show I often feel fine. Cumulatively, though, I'm exhausted. I am really, really tired. I've never been this kind of tired, to be honest with you. And I don't think I've ever worked this hard, and probably never will again.


Q. Do you wish you hadn't agreed to do it for so long?
A. No, I don't. But if I had to do it again, I would probably say, "I think I can only do seven a week." Give them 100 percent, and actually have a life outside of it.


Q. The show couldn't have recouped without that eighth performance.
A. I'm actually a proponent of eight a week, just not for this particular show. I mean, Trevor Nunn came to see it, and he says: "Hughie, this is 'Lear.' You can't do this eight times a week." Well, it can be done; obviously I'm doing it. And I don't think I will look back in 10 years and think of the exhaustion. So I don't want to overplay it, but I think it's just a bit too much.



Q. How close have you gotten to missing a show?
A. Once I had a cold and was so incredibly dry I almost couldn't make a sound. It was to the point that I had the stage littered with glasses of water. Sometimes in the middle of a song I would have to drink. Sometimes I'd think, at the interval: "I can't go back out. I'm not going to make noise." Four or five times I've been to the doctor with a slight illness, and say two of those times, I've thought, "Well, I'm going to be taking a day off." But she gives me a shot of this or that, or an antibiotic, and I feel better in a matter of hours.


Q. What other kinds of maintenance have you had to do to get through it?
A. I have massages twice a week, after the matinees, which sounds great but they're like hell. This guy, Greg, sometimes I almost want to deck him, because it feels like he's just taking out all his childhood angst on me on the table. And I'm not from a dance background so my body was kind of like, "Wow, hang on a sec." So I see a woman who does body alignment once a week. She just . . . fixes me. And I do yoga once or twice a week, train in the gym once or twice a week, tai chi once a week. So generally something once a day, except the Monday, nothing. I don't know how much detail you want.



Q. All of it, details.
A. So before I go to bed, I steam for 10 minutes, a little personal inhaler. When I wake up in the morning I steam again. Let's see, I take vitamin B-12 shots a couple of times a week; I just do them here myself. Lots of vitamin C. And probably the greatest source of rejuvenation is that I meditate twice a day. And then, normal warm-ups. I do a singing lesson every day before the show for 15 minutes with our musical director, Patrick Vaccariello, and we go through any problems I'm having.


Q. Problems? Even at this point?
A. Absolutely. You know what's really weird? I actually got stage fright for the first time in my life six months into the run.


Q. Where from?
A. One night, during the song "Quiet, Please, There's a Lady on Stage," I cracked a little bit on a note. I forgot about it, but the next night when I came up to that note, about a line before, I sort of remembered, and then I really cracked on that note. I woke up the next morning and it was the first thought in my head. So I thought, "This is ridiculous," and forgot about it. That night, I was nervous all the way through Act I and then cracked badly. It was this feeling of humiliation onstage, where literally I would turn red and then get angry, and then I'd feel it underneath while playing the whole show. It started to envelop me, to the point where I'd wake up and I'd be nervous coming to the show. I've never had stage fright, I've never really understood it, but all day it felt like a Herculean effort to get out on the stage. I started thinking, "I don't know how to sing." And whatever used to happen naturally I was second-guessing. I wanted to vomit, all from a little note!




Q. Did you ever figure out what it was about?
A. No. But one day about a week later, thank God, this thought came into my head saying: "Even if you don't sing a note, just speak the words. This song has nothing to do with you. It's about Judy Garland." And I sang that night and I was just fine, and I literally felt like a demon was leaving my body. I looked down at Patrick and he was just smiling, and I wanted to cry.


Q. How has the show changed from a year ago?
A. About three weeks into rehearsal I began to feel we really had to break the thing open, that I had to do some kind of ad-lib audience-participation. So I just sketched out a thing, and I did it at rehearsals, and if you can imagine in the rehearsal room, with no audience, it's not really funny. So we dropped it, but then it kind of recurred organically one night, after we opened, when someone came in late, with the usher shining the torch, and sat down right in front of me in the front row. I just sort of stopped short and started having a conversation. Now, when the latecomers don't come, I really regret it because the whole of Act I is very different. Of course, I have to be careful who I pick because some people come late deliberately to do routines; I can tell. I never pick a latecomer who is in the front row.


Q. The ad-lib section at the beginning of Act II, when you often invite someone to come onstage and banter or dance, has become one of the highlights of the show. People come back for it.
A. It started around November, and I was nervous that I would trip myself up, that I wouldn't be funny. But now I've realized that people laugh just because they sense that you're winging it. And, really, they do all the work. I get someone up to dance and people just go mental because they're all thinking, "That could be me."



Q. Has it ever gotten out of hand?
A. One woman took her top off. She was in the front row, and I was just speechless. Another time, someone yelled out, "I want to bite your butt." And I said, "Well, come on, lady, come on down," thinking she wouldn't. But down she came, and I stuck out my bum, and she just chomped in.


Q. Well, that's certainly in the Peter Allen spirit. Did you at some point ask yourself whether you really wanted to take on what must be the most flamboyant role in the world?
A. Do you mean about his being gay? Because that never bothered me.


Q. Not the gayness per se. I mean the hugeness, the abandon, the big campy silliness of the character.
A. Yeah, that was nerve-racking, and yet also what I needed as an actor. At drama school you have that abandon. You try anything. And I was witnessing in myself, and also I watched in other people's careers, that the abandon seems to get less and less. And some people say, "Well, I just know what I do best now, and this is what the market wants, so I'll do X-Man movies." So it scared me but I said yes right away.


Q. Not to make this a "Tootsie" moment, but are you saying you're a better actor for having worn Peter Allen's drag?
A. It's made me trust my instincts more, and want to risk more, too. Now I want to do a one-man show as Hugh Jackman. I never had the guts to admit that before. I want to do some stage work every year. And in the next movie I'm doing, "The Fountain," Darren Aronofsky is asking me to do things I've never done, and I can't wait. After doing "The Boy From Oz," I thought, "I want to have this feeling on film -- this feeling of 'This is going to take everything I've got.' "


Q. If you got that feeling from "Oz," I wonder how much of it was the material, which as you must know was not critically admired, and how much was what you accessed through the material?
A. I don't think I'm so talented that I transcend the material. Particularly in a musical where a lot of time is spent singing. If the music's not good it doesn't really matter who's out there singing it.


Q. But you know there was a lot of criticism about the show itself, in essence saying that you were giving one of the great performances of the season in one of the worst shows of the season.
A. It doesn't make sense to me. If I'm speaking what must be 50 percent of the book, how could you literally trash the book and give me praise? I've been in dogs before, and I never felt that here. And that's why I was shocked by the venom against the show. I was like, "Wow, this just doesn't compute with my experience," which was sort of disorienting to me. I thought I had jet lag or something.




Q. How hard is it to be the one guy getting all the praise while everyone else is getting slammed?
A. Because I was committing a year and a half of my life to the show, I didn't feel like I was separate from it. I wanted the show to get that praise. I was very disappointed. Not just for them, for myself.


Q. But did you agree with any of it?

A. Parts seemed arduous and felt clumsy, but we worked on it, and I think it doesn't feel that way so much now. I really felt this show could affect people, show them a really great time and mean something. I don't mean like Chekhov or Shakespeare, but that we could make a connection. For me and many in the audience, it has proven to do that; almost universally for the critics, not at all. It's sort of like having one of those "Santa Claus isn't real" moments as an adult. But no matter what criticism you have of the show, I think there's a spirit intrinsic in the material that elevates it beyond that. It's not me, it's the show.



Q. I don't know . . . you're leaving and it's closing. Did you want someone to take over for you?
A. Absolutely. It's a great role, and all we needed, the producer said, is someone to do it for 12 weeks, to show that other people could do it, and do it their own way.


Q. Who would you have wanted?
A. Ewan McGregor. He's probably top of my list. And also Robbie Williams would have been brilliant.

Q. So why aren't they in the wings?
A. I think that they were asked and just turned it down.

Q. Ricky Martin: true or false?
A. I think they asked him. They asked Harry Connick Jr.; that would have worked, too.

Q. Who or what wouldn't have worked?
A. Someone who can't connect with the audience.

Q. You mean from the stage. What about the connection at the stage door after the show?
A. Yeah, that could sometimes be a bit much. But John Travolta told me to look every one of them in the eye. Sometimes that's all it takes.

[njr]

Dec 6, 2019 1:08:09 GMT -5 jo said:

This report from the Associated Press via The Washington Post tells a slightly different story -- this was posted on Hugh's Instagram Stories, so maybe there is more credibility?


www.instagram.com/stories/thehughjackman/

Or is it possible the data are not comparable with how it was presented at BillBoard/@touringdata? In the AP report, are the figures simply the simple average of the average gross receipts per city (not the simple average of all of the shows taken individually for each show?)?




www.washingtonpost.com/national/top-20-global-concert-tours-from-pollstar/2019/12/05/6f3136e4-17b9-11ea-80d6-d0ca7007273f_story.html

Washington Post Live


National
Top 20 Global Concert Tours from Pollstar

By Associated Press
Dec. 6, 2019 at 7:46 a.m. GMT+8

The Top 20 Global Concert Tours ranks artists by average box office gross per city and includes the average ticket price for shows Worldwide. The list is based on data provided to the trade publication Pollstar by concert promoters and venue managers. Week of December 4, 2019:


TOP 20 GLOBAL CONCERT TOURS

1. Elton John; $2,870,863; $130.86.
2. Sandy & Junior; $2,260,403; $54.38.
3. Phil Collins; $2,145,965; $144.69.
4. Guns N’ Roses; $2,003,111; $127.13.
5. Muse; $1,921,982; $85.11.
6. Post Malone; $1,913,809; $116.49.
7. Ariana Grande; $1,869,662; $93.54.
8. Jonas Brothers; $1,700,530; $104.72.
9. Hugh Jackman; $1,691,200; $83.50.
10. Tool; $1,528,054; $103.77.

11. Cher; $1,485,624; $127.42.
12. Eric Church; $1,471,468; $85.74.
13. John Mayer; $1,427,545; $95.41.
14. Iron Maiden; $1,302,161; $63.86.
15. Michael Bublé; $1,297,724; $111.91.
16. Little Mix; $1,274,903; $58.85.
17. Bob Seger & The Silver Bullet Band; $1,250,039; $117.47.
18. Zac Brown Band; $1,241,128; $60.24.
19. Backstreet Boys; $1,234,347; $98.73.
20. Florida Georgia Line; $1,219,752; $68.38.

Copyright 2019 The Associated Press. All rights reserved. This material may not be published, broadcast, rewritten or redistributed.
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Wonder why Paul McCartney is not listed in this poll? His Freshen Up tour was worldwide. (he was #8 in the Billboard poll)

Nancy

[luzie]

Dec 6, 2019 11:20:19 GMT -5 njr said:

Wonder why Paul McCartney is not listed in this poll? His Freshen Up tour was worldwide. (he was #8 in the Billboard poll)

Nancy

Yes, ditto for Pink, Ed Sheeran, Rolling Stones ... with their major stadium tours. The Billboard charts seem more legit. The Pollstar charts are only the average gross receipts per city (among other things based on the average ticket prices).

[jo]

I forgot about this version -- but I wonder if any are still available! Unique and cute!

EDIT : Oops -- ALL merchandise are now SOLD OUT!!

In Hugh's Instagram stories -- where he thanks everyone for supporting the merchandise offers, there is a message which says --


"Until next time!"


Whatever can that mean


PS : I am now anticipating and saving up for the merchandise offers for THE MUSIC MAN! Also, Hugh will likely be very persuasive again during BC/EFA fundraising -- so, that will be "until next time" for me


Jo

[jo]

From the Official Press Release re the offering of the play TO KILL A MOCKINGBIRD for free for 18,000 New York City school youth at MSG --

“Madison Square Garden has been the backdrop of a number of entertainment firsts over its history – but few have been as impactful or important as the upcoming performance of To Kill a Mockingbird,” said James L. Dolan, executive chairman and CEO of The Madison Square Garden Company. “This show will mark the first time a Broadway play has appeared at The World’s Most Famous Arena, which will give thousands of New York City students the chance to witness the incredible power of live theater - an experience we know they will never forget. We applaud Scott Rudin and Barry Diller’s vision for bringing this celebrated production to life on such a grand scale, and look forward to working with their teams, as well as with the Department of Education, on this extraordinary event, which we hope will be the first of many.”

Technically-speaking, selected moments and music from several Broadway shows were presented at Hugh Jackman's MSG arena shows, such as :

*Passages from Les Misérables
*The scene involving Gaston from Beauty and the Beast
*Scenes from The Boy from Oz

*Music from Dear Evan Hansen


And two important Broadway royalty were there -- Phil Smith, Chairman of the Shubert Organization and Ted Chapin, President of the Rodgers&Hammerstein Organization.


Jo

[jo]

Not sure if this is the complete tour receipts - if it includes the Mexico shows?

[njr]

Dec 22, 2019 6:29:51 GMT -5 jo said:

Not sure if this is the complete tour receipts - if it includes the Mexico shows?

I wonder how much of that Hugh received? They had so many people to pay for that show!

[jo]

Old school Rock Star!! What a delight to be singled out among the current generation's favorite concert performers!


www.ajc.com/blog/music/top-atlanta-concerts-2019-lizzo-elo-shawn-mendes/iMleOHoZYS3ZZRs2fykFqO/

4. Hugh Jackman (July 3 at State Farm Arena): Surely this man has a flaw. We know he can act, he’s a classically handsome dude and we’ve seen his abs. By all accounts, he’s a lovely and genuine fellow as well. Now toss in his ability to sing and dance through everything from Broadway classics to the underappreciated pop schmaltz of Peter Allen and you have a perfect evening of old-school showbiz.

[jo]

[njr]

That was the show I saw - July 3rd at State Farm Arena in Atlanta!

Nancy

[mamaleh]

Nancy, Hugh mentions seeing JK Simmons in the audience. I remember that happening at the Newark, NJ, show I attended. Also, Hugh says "I love New Jersey," to a tumultuous reaction. By the way, that was a great capture of the tap dancing medley! Thanks, Jo.

Ellen

[jo]

We hear from Olive Knight, sending a New Year's message to Keala --

[jo]

I think we may have missed this feature -- a salute to what Hugh Jackman has shown the world as an Aussie!


www.theguardian.com/film/2019/aug/05/hugh-jackman-shows-the-world-the-kind-of-australia-we-wish-we-were

Hugh Jackman

Hugh Jackman shows the world the kind of Australia we wish we were

Cassie Tongue


From self-deprecating jokes to tap-dancing to AC/DC, The Man. The Music. The Show is two hours of joyous entertainment with an inclusive, heartfelt message

@cassietongue Email
Mon 5 Aug 2019 02.24 BST
Last modified on Mon 5 Aug 2019 03.36 BST



In The Man. The Music. The Show, which is touring Australia in August and September, Sydney boy turned international movie star Hugh Jackman is a performer out of time, singing Sinatra and waltzing with his family. Photograph: Kevin Mazur/Getty Images for HJ


Early into his show, Hugh Jackman tells us he always had a thing for numbers – he wasn’t good at sums, but numbers stuck firmly in his memory. His first home phone number. The license plate number of the family car from his childhood in Turramurra. Later, he says a figure so casually you might not register how staggering it is – 15,000: the number of audience members in Qudos Bank Arena for The Man. The Music. The Show, Hugh Jackman’s touring juggernaut.

There are multiple, similarly attended dates in Sydney, Adelaide, Melbourne, Perth and Brisbane. He has successfully lapped the UK already. In October he’ll play the United States and Mexico.

Hugh Jackman live review – he really is the Greatest Showman
5 out of 5 stars.

Who are all these people going to see Hugh Jackman – a Sydney boy turned international movie star – sing and dance and chat for two affable hours? Even Jackman himself isn’t sure. Upfront, he pre-emptively forgives the audience members who’ll be checking their phones for updates on the cricket. He even promises us to tell us when he’s two songs from the end, just in case we’re the kind of people who like to leave early to beat the traffic.

It’s easy to understand Jackman’s international appeal, with massive movies like The Greatest Showman and The X-Men franchise under his belt. But Australia seems to love him so fervently, this man out of time, singing Sinatra and tap-dancing to AC/DC.



Jackman is comfortable as himself. He dances freely and without cringe, even as he recreates the choreography from his turn as Gaston in Beauty and the Beast in 1996 at Melbourne’s Princess Theatre. He tells us his brother calling him a sissy prevented him from taking dance lessons; he dances joyously now, secure in himself and his interests. The message is clear: follow your dreams, no matter what others might say.

He shows himself as a loving husband and father – he descends into the audience to waltz with Deborra-Lee Furness, his wife of 23 years – but he immediately jokes about making all the other husbands look bad. He’s your mate. He plays piano onstage and immediately makes a self-deprecating joke about thinking he’s somehow qualified to play a piano at an arena show (with specific apologies to Billy Joel).

He brings out two children’s choirs to sing You Will Be Found from Dear Evan Hansen, the reigning hit musical for sensitive teens, written by The Greatest Showman’s songwriters Benj Pasek and Justin Paul. He casually says the musical will be coming to Australia next year; behind me, young women screamed in delight.



And then Jackman begins the second act in character as Peter Allen, reprising his Tony award-winning turn as the Australian entertainer in The Boy From Oz. A woman is pulled from the audience to dance with him; she clings in delight. Jackman shakes his hips and moves like Allen, a little queerness in every step. Later, he mugs in Wolverine poses, joking that the X-Men fans in the audience must have been suffering all night. He knows he pushes the boundaries of acceptable bloke behaviour; he encourages you to let him.

His audience is, typically, entranced. They cheer when the band plays the 20th Century Fox theme as Jackman describes his love for movie musicals. They even cheer at his take on Valjean’s Soliloquy and One Day More from Les Misérables. Jackman’s voice, which has always been more about charm and power than technique, serves him well in this enormous space. But when his special guest, The Greatest Showman’s Keala Settle, emerges to sing generic-outsider anthem This is Me, her stunning voice brings people around me to tears. Jackman made space for her to shine.



Later in the second act, he gives the stage over to Walmatjarri and Bunuba blues singer Olive Knight who, with son Clifton Bieundurry and didgeridoo players Paul Boon and Nathan Mundraby, performs a number in Walmatjarri. After Jackman joins them for a rendition of Israel Kamakawiwo’ole’s Somewhere Over the Rainbow, he speaks movingly about living in “an increasingly divided world” and wanting to spread “the idea of reconciliation through art, through music, through culture”. He hands Knight the microphone to translate her words into English, so we do not miss them: “The land is crying for its people. The people are crying for the land. Do not be silent. Speak up for her.”


The Man. The Music. The Show is a strange mix of earnest performance, a variety show for the heartfelt and easy-pushed buttons of popular entertainment. But popular entertainment is popular for a reason and it’s easy to get caught up in the spectacle.


When I told my ride-share driver why I was going to the Qudos Bank Arena, he brightened. He loves Hugh Jackman like he loves former world No 1 tennis player Pat Rafter, he said, because “they show Australia’s face to the world”.


Jackman, perhaps, shows the world who we wish we were: a nation that has attempted to heal the genocide and systemic racism that haunts and hurts us; a nation where men don’t routinely and violently kill women; a nation where gendered expectations are out the window. Where love and respect are the guiding tenets of our communities.

And if that’s who we wish we were, maybe there’s hope for us yet.

• Hugh Jackman: The Man, The Music, The Show is touring Australia until 3 September

[jo]

Pat Rafter, the tennis player, is so well-admired that they have named an arena after him in Brisbane!

At some point, I would not be surprised if Hugh Jackman will be similarly honored in a similar way in his homeland.

In a way, Hugh shows both the values and the impact of his British parentage and the place (Australia) where he grew up into becoming the person that he has become today. And perhaps a little bit of New York, too, where he has resided since late 2008.

Jo

[jo]

Hmm... it was also in London where international stardom started for Hugh Jackman ( Oklahoma!).

Ironic that many of the newer UK fans did not seem to be aware then of the show and Hugh's yearlong stint with Oklahoma!

But what a blessing that XMen main producer Lauren Shuler Donner and super-agent Patrick Whitesell came to see the show then


Jo

[jo]

[jo]

His encounter with a Wolverine fan, which was reshown from the fan's Instagram post, has gathered 2 Million views to-date. (EDIT: now 7.0 M views as of Feb 17 ) It has definitely gone viral!

It doesn't show on the reposted tweet here on the message board, but the number of views shows on Twitter itself.

[jo]

The original Instagram post from the fan himself

http://instagram.com/p/B3p68AfFYD_

He reposted what he said is the better quality clip. It's different from all the other clips of what happened because this one captures the vocal exchange between him and Hugh.

[jo]

He's playing with his Instagram posting -- this one is an artistically-made clip of the encounter, including his choice of background music!

He is now the most famous Wolverine fan ever

http://instagram.com/p/B3x1tj6Fysy

[jo]

Hugh himself joins in reminiscing about that fan encounter :

Check out his INSTAGRAM Stories --

www.instagram.com/stories/thehughjackman/


And the Instagram post that he quoted --

http://instagr.am/p/B8hOjlShgz_

Already with 2.75 million views


Jo

[jo]

Screenrant picks up the viral response to the reposting of the video scene with the Wolverine fan --

screenrant.com/hugh-jackman-wolverine-xmen-fan-concert-video/

[jo]

[jo]

At the Montblanc event Hugh shared a bit of news with People.com on his past music tour and how The Music Man is progressing ( while still many months from previews).


people.com/movies/hugh-jackman-says-he-and-wife-deborra-lee-reset-their-25-year-marriage-all-the-time/?fbclid=IwAR0NzVvULpe8ZVqyWeaWOjHPxBGI094oIqX2wBzr27kXxI5hpjY7mSepG0M

Excerpt --

While at the event, Jackman also talked to PEOPLE about his recent The Man. The Music. The Show. tour which ended in Oct 2019.

“It was a dream year,” the Australian actor says reflecting on the journey. “I still pinch myself, I had so much fun.”
“Those audiences were incredible, they exceeded every expectation I’ve ever had,” he continues, adding that he would “100 percent” do it all again.

But for now, any Jackman fans hoping to get a glimpse of the actor on stage will have to wait until later this year when he and fellow actress Sutton Foster take on Broadway in the upcoming revival of The Music Man.

Describing that he is currently in “early rehearsals,” Jackman says, “Sutton Foster and myself have just been in a room for the last two or three weeks just sort of learning the dance and singing and reading the script and getting started on it.”

The Music Man will begin performances on Sept. 9 and officially open on Oct. 15.

Given his supposed one-year stint for The Music Man and his film career -- when, if ever, will that happen

Maybe a more protracted show and in contiguous places?

Jo