World Tour 2019

[jo]

[jo]

Someone was able to film a Melbourne full performance and has uploaded it on YouTube --

[jo]

World Tour Financial Figures ( excl Hollywood Bowl, Mexico) --

touringdata.wordpress.com/2019/07/31/hugh-jackman-the-greatest-showman-tour/

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BOX OFFICE: Hugh Jackman — The Greatest Showman Tour


Total:
Total Reported Gross: $85,164,267 ( Jo's note : Excl 2 shows at Hollywood Bowl and 2 shows in Mexico)
Total Reported Attendance: 983,213
Average Ticket Price: $86.62
Reported Shows: 88 / 90 (Jo's note: Figures do not include 2 shows at Hollywood Bowl and 2 shows in Mexico) -- so 86/90 or 88/92)
Estimated Gross: $87,664,267
Estimated Attendance: 1,011,213



Europe
Total Reported Gross: $24,349,757
Total Reported Attendance: 298,785
Average Ticket Price: $81.50

Reported Shows: 26 / 26
May 7-9, 2019: SSE Hydro, Glasgow (31,991 – $2,734,850)
May 13, 2019: Barclaycard Arena, Hamburg (9,199 – $969,113)
May 14, 2019: Mercedes-Benz Arena, Berlin (7,623 – $822,294)
May 16, 2019: Lanxess Arena, Cologne (10,322 – $1,124,260)
May 17, 2019: Ziggo Dome, Amsterdam (10,825 – $782,606)
May 21, 2019: SAP Arena, Mannheim (7,499 – $835,217)
May 22, 2019: AccorHotels Arena, Paris (10,566 – $834,116)
May 24-25, 2019: Manchester Arena, Manchester (43,479 – $2,985,550 (3 shows)
May 27-28, 2019: Resorts World Arena, Birmingham (36,107 – $2,677,243) (3 shows)
May 30-31, 2019: 3Arena, Dublin (25,035 – $2,075,718) (2 shows)
June 2-7, 2019: The O2 Arena, London (93,566 – $7,441,090) (6 shows)


North America
Total Reported Gross: $26,214,718
Total Reported Attendance: 254,472
Average Ticket Price: $103.07
Reported Shows: 22 / 24
Estimated Gross: $28,714,718
Estimated Attendance: 282,472

June 18, 2019: Toyota Center, Houston (10,648 – $1,041,486)
June 19, 2019: American Airlines Center, Dallas (12,587 – $1,164,273)
June 21, 2019: United Center, Chicago (13,070 – $1,328,925)
June 22, 2019: Xcel Energy Center, Saint Paul (13,160 – $1,326,611)
June 24, 2019: Little Caesars Arena, Detroit (12,138 – $1,216,158)
June 25, 201: Scotiabank Arena, Toronto (12,556 – $1,188,734)
June 27, 2019: TD Garden, Boston (12,335 – $1,266,320)
June 28-29, 2019: Madison Square Garden, New York City (34,944 – $4,242,613) (3 shows)
June 30, 2019: Wells Fargo Center, Philadelphia (12,835 – $1,289,305)
July 1, 2019: Capital One Arena, Washington (12,831 – $1,308,382)
July 3, 2019: State Farm Arena, Atlanta (10,114 – $1,060,824)
July 5, 2019: Amalie Arena, Tampa (12,507 – $1,253,403)
July 6, 2019: BB&T Center, Sunrise (10,050 – $1,037,306)
July 10, 2019: Pepsi Center, Denver (11,433 – $1,138,038)
July 11-12, 2019: Vivint Smart Home Arena, Salt Lake City (21,250 – $2,104,745) (2 shows)
July 13, 2019: MGM Grand Garden Arena, Las Vegas (10,212 – $1,089,574)
July 14, 2019: Gila River Arena, Glendale (11,183 – $1,057,510)
July 16, 2019: Pechanga Arena, San Diego (9,153 – $885,796)
July 17, 2019: SAP Center, San Jose (11,466 – $1,214,715)
July 19-20, 2019: Hollywood Bowl, Los Angeles (N/A) (2 shows)



Oceania
Total Reported Gross: $24,796,202
Total Reported Attendance: 303,603
Average Ticket Price: $84.46
Reported Shows: 28 / 28

August 2-7, 2019: Qudos Bank Arena, Sydney (76,483 – $6,502,850) (6 shows)
August 10-13, 2019: Entertainment Centre, Adelaide (47,709 – $3,217,627) (5 shows)
August 16-27, 2019: Rod Laver Arena, Melbourne (72,413 – $5,733,890) (6 shows)
August 21-24, 2019: Perth Arena, Perth (45,117 – $3,818,120) (4 shows)
August 31-September 3, 2019: Entertainment Centre, Brisbane (44,850 – $4,119,657) (5 shows)
September 6-7, 2019: Spark Arena, Auckland (17,031 – $1,404,058) (2 shows)



North America
Total Reported Gross: $9,803,590
Total Reported Attendance: 126,353
Average Ticket Price: $75.49

Reported Shows: 12 / 12
October 2, 2019: Wells Fargo Center, Philadelphia (8,072 – $639,969)
October 5, 2019: Nassau Coliseum, Uniondale (10,739 – $1,268,145)
October 9, 2019: PPG Paints Arena, Pittsburgh (9,323 – $791,449)
October 12, 2019: Bankers Life Fieldhouse, Indianapolis (8,381 – $817,762)
October 15, 2019: AT&T Center, San Antonio (8,085 – $679,181)

Top Average Price was at Madison Square Garden - $ 121.41 per ticket

[luzie]

The show in Switzerland (Zurich, May 19) isn't included either.

[jo]

I remember that - it was the one which Roger and Mirka Federer attended. Not sure whether it was on that day or the day after, but Roger and Mirka hosted a lunch at his place for Hugh and the troupe.

Jo

[jo]

[jo]

A very good clip of the GASTON song --

[jo]

[jo]

During the 92Y session --

In principle - he expressed reluctance to release videos of live performances because he thinks it fails to capture the essence of a live performance.

I guess that is why he has never allowed any video releases of live shows he has been involved in.

Jo

[jo]

Published on JackmansLanding -- this full recounting/review of the show written after the UK performances.

www.albiemedia.com/2019/06/review-hugh-jackman-man-music-show.html?fbclid=IwAR3JnFP5oCfkbrGZ_PKxiEFSgPXeEGG96yFJNvgvSkMlBr7W-xQULfHdGx4

Review - Hugh Jackman – The Man. The Music. The Show.

Our own greatest showman, Barnaby Eaton-Jones went to Hugh Jackman – The Man. The Music. The Show at Birmingham Resorts World Arena last month...



With a title like that, the show better be good. And it is. It’s beyond that.



I knew Hugh Jackman was a man at one with musical theatre and stagecraft, alongside his ability to bring charisma and screen presence to any role he took on in whatever film he was appearing in, but I never expected the sheer onslaught of talent that spilled off the stage at the Resorts World Arena.

A clever little precursor was a DJ playing some classic tunes, to get the crowd in the mood, and whipping them into a frenzy as the clock counted down to Mr. Jackman’s appearance on stage.

There he was.



Rising up from beneath the stage, stood as still as a statue, until he fully appeared at the back of the stage atop the bank of steps. He was surveying the scene, unmoving, as the rumbling of stamping feet and the roar of thousands of voices and the wave upon wave of hand clapping washed over him.

And then he began.

From the second he started, to the moment he finished, the crowd were all held in the palm of his huge Australian hands. He drew us in, he made us cry, he made us swoon, he made us dance, he made us laugh, and he made us wish we were his friend.



To be able to connect seemingly personally to an audience that large is a particular skill of an entertainer and he’s got that skill in spades. He reminisced about his life, in specific parts of the show (his ode to his wife, with a slideshow of photos across the years, was particular touching), and he was able to draw humour out of every anecdote or story he told as well as baring his heart and soul too.

The show is structured around ‘numbers’ (the numerical kind and the stage show kind). Big numbers. He has, it appears, a skill at recalling numbers and a skill at performing them too!

His tour is just finishing in the UK but he’s still got the rest of the world to go but I can’t see how he’d ever get tired of performing set piece after set piece from ‘The Greatest Showman’, ‘Les Miserables’, and ‘The Boy from Oz’; among many others.



The end of the first Act is particularly moving, as he belts out the famous song which he essayed in the movie of the ‘Les Miserables’ musical, with a rousing finale that involves flags flying and brings the whole show to a crescendo to leave the audience with time to wind down and breath again during the interval.

The only minor niggle I had with Act One – and it really is nit-picking - is him not mentioning the pivotal role of Curly in the musical ‘Oklahoma!’ as it was the National Theatre’s 1998 production of the Rodgers & Hammerstein classic musical in the West End which won him a Best Actor In A Musical Olivier award - and which he was starring in when he auditioned for the producers of X-Men.



He wasn’t cast in the X-Men film initially but, when Dougray Scott dropped out of the Wolverine role and they needed someone to replace him at short notice, Hugh Jackman donned the claws and changed his own life. He makes a couple of very amusing comments about seeing guys in the audience with Wolverine t-shirts and tells them ‘This is going to be a looooong night!’ and then, much later in the show, pulls a few Wolverine poses at the end of a sequence as photos of him as the pumped-up mutant flash across the huge screens behind him – clearly to appease the fans and then he collapses in giggles afterwards.



But, for me, his lazy smile and powerful voice in the role of Curly from ‘Oklahoma!’ cemented him as a stage star and I think ‘Oh, What A Beautiful Morning’ would have been a great song to have added to the show but – instead – he references his role as Gaston in a Australian production of ‘Beauty & The Beast’ as his defining stage breakthrough and he performs the song from that. Gaston is also a role that fits him like a glove, with a dance routine that’s a gloriously complicated Oompah with much choreographed clinking of tankards. It’s a showier number and I can understand the switch but it did seem an odd omission maybe for those that know his career.

Act Two begins, perhaps confusingly for UK audiences, as a montage of Peter Allen footage and photos (an Australian singer-songwriter who made it big in America but is perhaps best known to the UK via his co-writing credit on the famous song ‘Arthur’s Theme’ which was the soundtrack to the classic Dudley Moore movie ‘Arthur’). This then leads into probably the biggest production number of the show (certainly in flamboyance alone) as Hugh Jackman reprises his Tony award-winning role as Peter Allen himself from the show ‘The Boy from Oz’. It’s clearly someone that inspired him and he revels in playing his version of the celebrated musician and performer.

Between songs, Hugh Jackman has a wide-eyed charm and sincerity – engaging with shouts from the crowd – and he seems at home there. As Peter Allen, he ramps that up and becomes a witty camp icon and actually goes into the audience to engage with people, bringing one embarrassed gentleman called Jamie up on stage and has some wicked fun with him (ending up butting butts in a dance routine).



The second half of the show also contains a personal connection to his homeland, with an Aboriginal quartet engaging the audience (and Hugh) in traditional instruments, tongue, and as a message for the world to be more tolerant and more loving. He seems moved by it and, understandably, is at pains to point out the official apology to the indigenous population from the Australian Prime Minister in 2008 and how it was long overdue.

From a sequence to big-time Hollywood musicals (he’s got that classic movie star charm – he clearly was born in the wrong era!) to an upbeat montage of ‘80s songs that had him tap-dancing and drumming, he just didn’t seem to pause for breath. His introduction of the band was lovely and it was clear how close he is with the entire production ensemble, with him rather amusingly saying he regretted the strong curry he’d had with them last night which was now coming back to haunt him. His down-to-earth nature is not an act, nor is his eternal enthusiasm (for his work or his life or his wife), as stories of his generosity and kindness have always surfaced. He just is born to entertain and that’s what he does.

Obviously, ‘The Greatest Showman’ makes an appearance. A mix-bag in critical reviews on reception but the most gigantic sleeper hit with moviegoers the world over, it seems to embody everything about him (especially as it took 8 years for him to bring it to the screen). It’s a gloriously told tale that takes expected liberties of the man it portrays, to give an inspiring message of being and believing in yourself.



A cameo from Keala Settle (the Bearded Lady in ‘The Greatest Showman’) had the crowd on their feet, as the lyrics and her presence clearly lifted them all. It also was fascinating to hear tell of this particular song – which has become the anthem for many - being written on an airplane ride by the composers as they flew to the last workshop (with photographic proof flashed up on the screens).

I’ve mentioned the screens that adorn the set and the whole construction is an inspired thing, with a runway stretching out from the stage into the audience, and the huge screens creating backdrops that lift each sequence they encompass.

Long-time collaborator Warren Carlyle was the creative director whose vision, along with Hugh’s, makes this show what it is, alongside slick and showy costumes by Tom Ford and some really big and intricate choreography Ashley Wallen.

It ends with the audience being in no doubt that (a) they’ve witnessed a proper theatrical spectacle, (b) that Hugh Jackman is possibly the nicest man on the planet, and (c) that a show where the performers and the star are enjoying themselves immensely translates to an audience doing exactly the same thing.

Barnaby Eaton-Jones.

Just some observations --

*It is not thematically a show structured around "Numbers". It is Hugh's musical career autobiography and some influences that touch on the musical references in his life. But his career already has so much sparkle when it came to musicals that it was enough to build a show around it. The numbers reference was patter used to link what could have been awkward pauses. There were also some numbers or hints that touch on his own personal motivations. For those more familiar with his life, the hints are easily discerned. "You Will Be Found" was personal. "Somewhere Over The Rainbow" was a show of love for his homeland and his advocacy to helping minorities. "All The Way" was his lifelong commitment to the person closest to him and their family.

*Beauty and the Beast was his formal entry into the world of musical theatre -- it had to be established as such, plus if the show was meant to be for an audience who were not familiar with his career -- what better way to start the ball rolling with one of the most popular ( animated) musicals of recent times.

*I had also wondered about the omission of OKLAHOMA! in the recounting of the great musical moments in his career. Ironic because he and the show creative director Warren Carlyle first worked together in the RNT revival of OKLAHOMA! ...Until he surprised one lucky audience for a one-night-only performance of the title song, with members of the original cast! It was a rare moment. Besides, in his previous one-man show which preceded this major concert, he opened them with "Oh What A Beautiful Morning".

Personally, I would have liked to have seen a song from Oklahoma! as part of his musical retelling of his life. After all, it was my personal intro to this very talented performer...but I could also see why he chose not to put it in as part of the show.

*I had wondered why he eventually deleted "Billy's Soliloquy" in the latter performances. The inclusion of the "New York/Broadway" musical references was good...but it didn't make sense to omit the Carousel reference, unless it was getting more difficult for him to retell that story of his Dad ( now ailing).

*Re Les Misérables -- true, One Day More is a showstopper -- but even in the movie, the winning moment was his superb dramatic rendering of Valjean's Soliloquy and a musical highlight of his portrayal. This number in the concert strongly affirmed that he is first and foremost a dramatic actor, by choice! The change of pace, from the more lighthearted musical numbers preceding it, surprised so many as he sang as if he really became Valjean in those moments! Stunning!

Later on in interviews ( 92Y), he would say that the one movie he made which left him the most lasting impact was Les Misérables because it defined human nature in so many ways. That personal perception was what made his concert performance very credible and memorable!



Each of us had our own take and personal appreciation of his show - as it is definitely a unique retelling of the musical points in his life and career ( no other performer can do the show for him, as that would ring falsely...and it is hard to duplicate another person's charisma). But for sheer entertainment value, it was very satisfying to see audiences coming from all walks appreciate his talent and his persona!


Jo

[jo]

Jun 14, 2020 5:14:42 GMT -5 jo said:

Songs by Pasek&Paul that seem to dwell on similar themes - one of feeling of isolation, until the moment  comes that one finds the light, through someone or through one's own! Themes that Hugh Jackman explored in his music tour!

[jo]

I had responded to a tweet which scorned the comparison with Gene Kelly ( she agreed about Hugh being able to do Howard Keel musical roles) -- and found this. It came from the Berlin show -- why am I getting a CABARET (the movie) vibe from the setting here?

But this clip from Berlin, while also supposedly repeated in other shows, somehow brings on a more enjoyable reaction.

[jo]

Some current discussion on Carousel on Twitter ( re another concert showing of the R&H musical) --

I wonder why Hugh dropped SOLILOQUY from his music tour eventually?

I am glad he was still singing it when his show came to MSG --

[jo]

The last concert in Mexico and of the tour --

One of a complete recording and upload?






And another one - Melbourne show --

[jo]

Remember his appearance on the TODAY SHOW and at Rock Center Plaza?

[njr]

One of our old boardies, Janet (Jet) was there and got a selfie video and photo with him!

[jo]

There was an added delight in performing with a Jackman music tour - in the audience could be personalities like Roger Federer, Martha Stewart, the President of the largest theatre owner on Broadway( Phil Smith of the Shubert Organization) or Ted Chapin ( President of the Rodgers and Hammerstein Organization)... and other celebrities who came to see Hugh. Or even have the composers of one of the largest album hits from musicals performing on stage with you ( Pasek and Paul).

Jo

[jo]

We can still find excellent clips from #TMTMTS --

[jo]

http://instagram.com/p/CKBji3tjbQj

[jo]

[jo]

http://instagram.com/p/CMjqpTGj1EI

Keep swiping.


When he was on Broadway for TBFO, I guess he didn't do any of that spraying on his hair because the front part always fell on his forehead as the show moved on. But he did get loads of spray for his special Wolverine hairstyle.

Jo

[jo]

A rare professional photo of the tour --

[jo]

[jo]

[sohmerwood]

You all who are really versed in theatrical law and such might be able to confirm this thought. As I was reading back on the thread about people noting that Hugh did not include any song from Oklahoma, I wondered if he was prohibited because the show was running on Broadway at the time of the tour. I remember that theatre companies were barred from doing shows on Broadway or national tour by Sam French and the publishing companies. Could there be a bar on the use of songs?