TheManTheMusicTheShow : Official Reviews(Potential SPOILERS)

[hughmanity]

A lovely review.  Takes special note of his musical theater numbers


lovelondonloveculture.com/2019/06/04/review-hugh-jackman-the-man-the-music-the-show-the-o2/

Featuring everything from The Greatest Showman to Les Miserables, it would be fair to say that this is show is a musical theatre fan’s idea of heaven – particularly when each song is performed with such charisma by Hugh Jackman, who utilises every talent he possesses to great effect to create an entertaining and warmly received show.

But even if you aren’t familiar with some of the songs that are performed throughout there is still plenty to enjoy, as he recounts stories from his life up until now that have had the most impact on him and shaped what his life is like now. Each story adds a bit of intimacy that isn’t easy to achieve in a huge arena like The O2 and allows Jackman to really connect with the audience.

It is clear that every element of the show has been carefully choreographed to create a slick, energetic and at times emotional show that is a thrill to watch. In particular, the Les Miserables medley was a particularly powerful moment – with Jenna Lee James providing a stunning rendition of ‘I Dreamed a Dream’, while Keala Settle got the entire crowd up onto their feet and singing along with a powerful performance of ‘This is Me’. There is also a particularly lovely version of ‘A Million Dreams’ featuring sign language that was genuinely a spine-tingling moment.

There was plenty of warm humour to be found as well, such as during the segment in which Jackman reprised his role from The Boy from Oz – over the top and cheesy but worked well in the overall joy that the show exudes (he was excellent at shaking his maracas as well!).

But it’s Jackman’s performances of classic musical theatre songs in a medley during the second half that really stood out and delighted. Hearing him perform a medley of ‘Luck Be a Lady’, ‘Singing in the Rain’, ‘I Got Rhythm’, ‘Stepping Out with My Baby’ and ‘Sing Sing Sing’ highlighted the smooth and playful qualities to his vocals. Followed by a stunning tap dance routine you get a real sense of why he is such a confident and natural looking stage performer.

Entertaining, delightful and engaging from start to finish, it is a feel-good show with plenty to recommend it.

By Emma Clarendon

Hugh Jackman continues to perform at The o2 until the 7th June, before continuing to tour the world.

Rating: ⭐⭐⭐⭐⭐

[jo]

It is clear that every element of the show has been carefully choreographed to create a slick, energetic and at times emotional show that is a thrill to watch.

I think she used the word "choreographed" here not in a literal sense, but to express how the show was thought out, put together, and executed. For that is really the true test of how good the show is, and not simply as a vehicle to reinforce the known perception about Hugh Jackman's triple-threat talent and winning charisma! Hugh will be very pleased to read that!

Will it work with another performer? Maybe the execution can be duplicated, but it would not have the spontaneity that this personal Jackman retrospective delivers!


Jo

[jo]

5-Star Review on CelebrityRadio, via YouTube --

[jo]

The first review as the tour hits American soil is equally very impressed with Hugh and the show itself!


www.chron.com/entertainment/music/article/Hugh-Jackman-kicks-off-his-U-S-tour-in-Houston-14016610.php

Hugh Jackman kicks off his U.S. tour in Houston

By Joey Guerra Published 11:02 pm CDT, Tuesday, June 18, 2019


Photo: Gary Fountain, Contributor


Image 11 of 53
Fans attending the Hugh Jackman concert at Toyota Center.


The easy line here would be to say something like, "Hugh Jackman is indeed the greatest showman -- on and off screen."
Obvious and cliche, maybe. But it's an accurate assessment of Jackman's "The Man. The Music. The Show." which kicked off a North American run Tuesday at Toyota Center. It was two hours of gorgeously staged bombast and joy. (Aidan Kennedy of local DJ outfit Wrestlers warmed up the crowd with a DJ set.)


"I'm so happy to be in Houston. Or as I like to call it, Hugh-ston," Jackman quipped. He was in town last week for a party at the Lone Star Flight Museum, visited NASA Monday and handed out free coffee Tuesday at Discovery Green.

Jackman's general fanbase likely knows him best for his "Wolverine" and "The Greatest Showman" roles. Those parts loomed large in the show. He recalled almost being fired from the first "X-Men" film because he wasn't delivering the way the studio wanted. And he later struck a cheeky series of Wolverine poses, replacing the claws with drumsticks.


All the "Showman" songs were there: openers "The Greatest Show" and "Come Alive," a triumphant "From Now On" and a beautifully choreographed "A Million Dreams" that captured the magic of the movie.

The Aussie entertainer's spirit, however, is steeped in stage musicals. He's been doing them for more than two decades and won a Tony for 2004's "The Boy from Oz." Jackman can sing and dance marvelously, to be sure. But he's also gifted with the ability to fully inhabit a character. It turned every song into a real moment, backed by a lush symphony and an exuberant array of dancers and singers.

Jackman strutted through "Gaston" from "Beauty and the Beast." He soared during "You Will Be Found" from "Dear Evan Hansen," accompanied by the Lake Houston Chamber Singers. And his turn on "Soliloquy" from "Carousel" was a tour de force.
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He's chatty, charming and exuded a warm energy that inspired mass swooning. Jackman dedicated "All the Way" to his wife, Deborra-Lee Furness, who was in the audience. There was a stunning trio of tunes from "Les Misérables," whose film adaptation earned Jackman an Oscar nomination and a Golden Globe win.

Later, Jackman tap danced to a medley of songs that included AC/DC, Earth, Wind & Fire and Van Halen hits. And somehow made it work.


But the night's most entertaining sequence was a tribute to legendary Australian performer Peter Allen, who Jackman portrayed in "The Boy from Oz." Allen wrote several classic pop tunes, including "Arthur's Theme (Best That You Can Do)," "Don't Cry Out Loud" and "I Honestly Love You."

Jackman didn't just sing the songs, he became Allen, from the voice to the mannerisms to the flashy outfits. He was joined onstage by a fan named Miguel, who said he was a ballroom dance instructor at NASA. Jackman's and the crowd's reaction were equally incredulous.

In a fit of campy brilliance, Jackman and Miguel locked hands and eyes for a bit of salsa dancing. The entire venue likely seethed with jealousy.


Joey Guerra is the music critic for the Houston Chronicle and covers everything from "Drag Race" to "Idol." Follow him on Twitter. Send him news tips at [e-mail].

[jo]

www.twincities.com/2019/06/22/hugh-jackman-earns-the-greatest-showman-title-in-campy-engaging-show-at-the-x/

Home

Hugh Jackman earns the ‘Greatest Showman’ title in campy, engaging show at the X


Hugh Jackman performs during The BRIT Awards 2019 held at The O2 Arena on February 20, 2019 in London, England. (Photo by Gareth Cattermole/Getty Images)

By Ross Raihala | [e-mail] | Pioneer Press
PUBLISHED: June 22, 2019 at 10:53 pm | UPDATED: June 22, 2019 at 10:59 pm


Versatility has long been a defining characteristic of Hugh Jackman’s career.

This is a guy who can play the hyper-masculine comic book character Wolverine in an “X-Men” film and an entirely different sort of hero in “Les Miserables” and pull off both roles with ease. Andy Samberg even lampooned Jackman’s range in a pair of memorable 2011 “Saturday Night Live” sketches dubbed “The Best of Both Worlds with Hugh Jackman.”

But at first, last fall’s announcement that Jackman was embarking on a 90-date world tour of arenas felt like a bit of a stretch. Yeah, he’s clearly talented, but is he a big enough draw to sell out such huge venues? Well, Saturday night, on the fourth stop of his tour’s North American leg, Jackman filled St. Paul’s Xcel Energy Center with an impressively diverse crowd of about 14,000 fans ready to whoop it up with a movie star in a hockey arena.

Backed by an orchestra, an army of dancers and St. Paul’s One Voice Mixed Chorus, Jackman delivered the sort of old-fashioned, high-glamour evening of Hollywood spectacle that was once common on stage and screen, but is rarely produced at this level today. Clad in custom Tom Ford outfits, Jackman fully embraced the inherent campiness of it all, whether he was tap dancing to AC/DC, playfully interacting with members of the crowd or sharing funny, often self-deprecating, anecdotes about his life.


Split into two sets, the show featured songs from Jackman’s musical productions as well as Broadway standards he used to tie in to personal stories, all performed with an attempt to recreate the source material visually. That meant, for example, full P. T. Barnum-style pomp for the selections from “The Greatest Showman,” including “The Greatest Show” (which opened the concert), “Come Alive,” “A Million Dreams” and “From Now On.” And the crowd — some clad in full Barnum & Bailey drag — ate those numbers up. (The “Showman” soundtrack stands as 2018’s best-selling album worldwide.)

Jackman also tacked classics from “Carousel” (“Soliloquy”), “Guys and Dolls” (“Luck Be a Lady”), “Beauty and the Beast” (“Gaston”) and even “Dear Evan Hansen” (“You Will Be Found”). His trio of “Les Mis” selections — “Valjean’s Soliloquy,” “I Dreamed a Dream,” “One Day More” — offered a particularly powerful highlight in an evening full of them.
The second set opened with a handful of songs from the Peter Allen jukebox musical “The Boy from Oz.” While the show isn’t well known beyond Broadway fanatics, Allen’s songs sure are. Jackman tackled his biggest hits in a medley: “Arthur’s Theme (Best That You Can Do),” “Don’t Cry Out Loud,” “Quiet Please, There’s a Lady on Stage” and “I Go to Rio.”


Jackman did so as Allen, the role that won him a Tony on Broadway. At one point he pulled a doctor from Wisconsin on stage, mischievously flirted with him and even got him to sing Neil Diamond’s “Sweet Caroline.” (A gay singer/songwriter/performer, Allen was literally a Friend of Dorothy. Judy Garland was an early supporter of Allen, who went on to marry her daughter, Liza Minnelli, before coming out of the closet. An avowed LGBTQ ally, Jackman acknowledged it was Pride weekend in the Twin Cities several times during the show.)

As it turns out, this wasn’t Jackman’s first time at the song-and-dance rodeo. He debuted his one-man show in 2011 and has since performed versions of it in various locations, including a stint on Broadway and a 2015 arena tour of his home country, Australia. According to Billboard, the first leg of Jackman’s current outing grossed $23.4 million and sold nearly 290,000 tickets across 26 shows in Europe.

Which makes one behind-the-scenes aspect of the concert truly puzzling. For reasons unknown, last week Jackman and his team informed Twin Cities media (and presumably media in other U.S. markets) that the tour was not allowing press coverage of any kind. No reviewers, no photographers, no TV crews. That meant the only reporters who covered the concert purchased tickets (not a big deal, it happens), but weren’t granted access to a place in the venue to write and file the review (which is otherwise standard operating procedure for arena concerts).

After spending two hours charmed and dazzled by a guy who totally earned the title of “The Greatest Showman,” one can’t help but wonder why Jackman didn’t want news of his talents shared with anyone not at the X on Saturday night.

Jo

[jo]

Which makes one behind-the-scenes aspect of the concert truly puzzling. For reasons unknown, last week Jackman and his team informed Twin Cities media (and presumably media in other U.S. markets) that the tour was not allowing press coverage of any kind. No reviewers, no photographers, no TV crews. That meant the only reporters who covered the concert purchased tickets (not a big deal, it happens), but weren’t granted access to a place in the venue to write and file the review (which is otherwise standard operating procedure for arena concerts).

After spending two hours charmed and dazzled by a guy who totally earned the title of “The Greatest Showman,” one can’t help but wonder why Jackman didn’t want news of his talents shared with anyone not at the X on Saturday night.

My guess -- maybe they want the US reviews to come out of the MSG shows ? MSG shows are on June 28 and 29, 2019.


Jo

[hughmanity]

I find this "interesting" ..I was actually wondering why I didn't see a review out of a big metro area such as Chicago..

Jun 23, 2019 1:39:23 GMT -5 jo said:

Which makes one behind-the-scenes aspect of the concert truly puzzling. For reasons unknown, last week Jackman and his team informed Twin Cities media (and presumably media in other U.S. markets) that the tour was not allowing press coverage of any kind. No reviewers, no photographers, no TV crews. That meant the only reporters who covered the concert purchased tickets (not a big deal, it happens), but weren’t granted access to a place in the venue to write and file the review (which is otherwise standard operating procedure for arena concerts).

After spending two hours charmed and dazzled by a guy who totally earned the title of “The Greatest Showman,” one can’t help but wonder why Jackman didn’t want news of his talents shared with anyone not at the X on Saturday night.

My guess -- maybe they want the US reviews to come out of the MSG shows ? MSG shows are on June 28 and 29, 2019.


Jo

[luzie]

Jun 23, 2019 1:39:23 GMT -5 jo said:

Which makes one behind-the-scenes aspect of the concert truly puzzling. For reasons unknown, last week Jackman and his team informed Twin Cities media (and presumably media in other U.S. markets) that the tour was not allowing press coverage of any kind. No reviewers, no photographers, no TV crews. That meant the only reporters who covered the concert purchased tickets (not a big deal, it happens), but weren’t granted access to a place in the venue to write and file the review (which is otherwise standard operating procedure for arena concerts).

After spending two hours charmed and dazzled by a guy who totally earned the title of “The Greatest Showman,” one can’t help but wonder why Jackman didn’t want news of his talents shared with anyone not at the X on Saturday night.

My guess -- maybe they want the US reviews to come out of the MSG shows ? MSG shows are on June 28 and 29, 2019.


Jo

I don't think so. The same happened in Europe, too. No press was invited, so there was (almost) no press coverage and hardly any reviews here either. Anyway, it's a strange and bad decision by him and his managenent IMO. Parts of the German media were quite upset and tried to get back at him with slighty negative reports and in particular with one very negative online review in one of the - unfortunately - most respected and popular weekly magazines. Overall he and his tour with the four German concerts were more or less ignored by the German press. And that's a pity!

[jo]

From the Billboard report on touring performances --

The tour launched May 7 at Glasgow’s SSE Hydro, where he earned $2.7 million across three shows. Jackman continued the trek through May and into June, where he posted sell-out finals at Amsterdam’s Ziggo Dome (May 17; $783,000; 10,825 tickets), Zurich’s Hallenstadion (May 19; $609,000; 6,313 tickets), and the AccorHotels Arena in Paris (May 22; $834,000; 10,566 tickets), among others. The leg finished on a high note with a six-show run at London’s O2 Arena from June 2-7. There, Jackman grossed $7.4 million from 93,566 tickets sold.

RANK

1
Hugh Jackman

$23,380,644

May 7 - June 7

SSE Hydro, Glasgow, Scotland (0/3)

Sportpaleis, Antwerp, Belgium (1/1)

Mercedes-Benz Arena, Berlin (0/1)

Lanxess Arena, Koln, Germany (0/1)

Ziggo Dome, Amsterdam, Netherlands (1/1)

Hallenstadion, Zurich, Switzerland (1/1)

SAP Arena, Mannheim, Germany (0/1)

AccorHotels Arena, Paris (1/1)

Manchester Arena, Manchester, England (0/3)

Resorts World Arena, Birmingham, England (3/3)

3Arena, Dublin, Ireland (3/3)

O2 Arena, London (6/6)

289,586 (297,745)

The tour per show average revenue was $ 900,000 for the 26-show European leg. Average number of tickets per show is 11,137 thousand. Average sell rate is 97.26 % of total seats available. That seems to be an excellent sell rate -- maybe social media reactions helped the publicity exceptionally well?



We don't know who made the decision about media relations. It could be the tour promoters, and not necessarily Hugh Jackman's talent agent ( even if WME-IMG/Endeavor has now become a major force in the entertainment field, too). Hugh Jackman has no official Talent Management team but he cited his relationship with WME and co-Chairman and longtime agent Patrick Whitesell for the decision to go on a world tour.

We'll see how it will unfold in the USA.


Jo

[hughmanity]

I am really so curious about why a decision like this would be made.  Any other speculation??

Jun 23, 2019 8:49:27 GMT -5 luzie said:

Jun 23, 2019 1:39:23 GMT -5 jo said:

My guess -- maybe they want the US reviews to come out of the MSG shows ? MSG shows are on June 28 and 29, 2019.


Jo

I don't think so. The same happened in Europe, too. No press was invited, so there was (almost) no press coverage and hardly any reviews here either. Anyway, it's a strange and bad decision by him and his managenent IMO. Parts of the German media were quite upset and tried to get back at him with slighty negative reports and in particular with one very negative online review in one of the - unfortunately - most respected and popular weekly magazines. Overall he and his tour with the four German concerts were more or less ignored by the German press. And that's a pity!

[jo]

As in many cases, they are 1-show per city, unlike in the Briish Isles where there were multiple shows in each city ( 3 in Glasgow, 3 in Manchester, 3 in Birmingham, 6 in London... even 3 in Dublin if that is considered as part of the British Isles, not necessarily the United Kingdom. Maybe they did not think any local review will have a big impact on future appeal...and just decided to rely on social media to spread the word? Could be the same thinking for the single-performance cities in the USA?

Social media and YouTube became the main publicity purveyors. And now Billboard itself!


Just speculating

Jo

[luzie]

The four German concerts weren't sold out, I'm not sure about the other European shows. But no surprise considering the poor promo and pre-coverage here. All in all we were surprised and glad that despite the poor promo the German arenas were quite full after all.

As I said, I think not inviting any press is a bad decision and he actually has no reason for it. German media reports said that on his entire tour no press is invited. I would think that he as the star has a say in it, too! Usually there is always press invited at any concerts and shows. So this decision has caused a bit of incomprehension and displeasure. Also, it's a shame that there wasn't and isn't any press coverage here. It's like this tour (and he) wouldn't exist!

[luzie]

German media wondered if he fears negative reviews or half-empty arenas. Not the best press but rather sort of negative backlash for him.

Usually there would have been TV coverage and widely coverage about his shows like it happens with all concert tours, especially with this kind of big arena tours. So this decision is very odd and presumably surprised the media, too.

[hughmanity]

Thanks for the feedback Luzie and Jo.

[jo]

Looking back --

When the first YouTube uploads of clips from the show came, I thought these are going to be taken down immediately and that the promoters would be on them right away. I even consulted Valerie as to whether we can upload them on the forum without inviting complaints.

But the clips on YT and on social media ( twitter/Instagram/etc) became more and more available.


Then it dawned on me that the promoters must be using this phenomenon for the Hugh shows ( and maybe for other concerts, too) to promote the show by heavy word-of-mouth. Maybe?




Relating it to Hugh's Broadway shows which are practically sellouts --


There is not much publicity (via ads) that happens for stage shows. Too expensive and stage shows have precarious financial positions. Theatre critics are invited as well as Tony Voters and are given complimentary tickets.

But do you remember THE BOY FROM OZ --it was lambasted by the theatre critics, save for one or two. There was a prediction that the show would close by the end of that year ( when many shows close due to the lean winter months). But it survived the lean months and by the TONYs, people were coming to see it in droves. You won't believe what the secondary market was charging for the last week of the run...with the closing show performance tickets ( official and secondary market) causing major gasps! The closing show was even written up in a review ( John Heilpern) and it highlighted the show's success -- not too many shows gets a final review.


And then there is the story of THE GREATEST SHOWMAN -- At Rotten Tomatoes, it received a ROTTEN rather than a FRESH Overall Rating ( 55%). The premiere at the QM2 was attended mostly by the TGS family and if I recall right, media was not officially invited (no free tickets)… The movie press ( not the critics) itself seemed to like giving the movie a negative speculation. Most publicity was with product or retail establishment tie=ups.

That must have had an impact on the opening weekend, where it did not do well given that it is a holiday-type movie...Then BOOM!!!!! It recorded one of the leggiest performances in Box Office history! Even Forbes had to take back its initial putdown ( calling it a movie for the TIN-TIN audiences -- although that wasn't entirely a wrong assessment - look at the young fanbase of the movie) and began reporting on its amazing week-after-week rising box office showing. Even the New York Times which gave the movie a negative rating did an unusual review via checking out with its readers why the movie was doing well week after week. They received an unprecedented number of positive replies!... At the end, it became the third largest movie musical in American box office history! And what about the soundtrack performance? Phenomenal, phenomenal! It became a Billboard hit, won many RIAA certifications ( Platinum and Gold) and eventually became the best-selling album worldwide in 2018! In the UK, it reached iconic status, breaking records. Also, the singalong craze started in the British Isles.


In either case...and maybe even in the case of #TMTMTS, are we now seeing the social phenomenon on how massive audience support transcends the traditional types of publicity? Social media and other online channels have become the new important testimonials ( positive or negative) that draw people's attention -- or good old word of mouth, except the delivery channels are now not just instantanous but also very widespread ( across national boundaries)!

Also, were the advance sales rates so good that the promoters realized there was no need to sell the show any further? Hmmm.. food for thought, too?

We'll see...


Jo

[jo]

A detailed blog on the Chicago show --


sethsaith.blogspot.com/2019/06/the-greatest-showman-at-uc-hugh-jackman.html#.XRBDzAl5wzM.twitter

Sunday, June 23, 2019
The Greatest Showman?: At the UC, Hugh Jackman Delivers a Huge Act, Man -- Chicago Theater / Concert Review


Concert / Theater Review

Hugh Jackman
The Man, The Music, The Show
United Center, Chicago
June 21, 2019
@@@@1/2

Anyone who doesn't admire Hugh Jackman at some level would seem to be actively trying not to.

At 50 (like me), the guy is incredibly handsome and absolutely ripped (unlike me).

He is a bona fine A-list movie star, whose films have grossed nearly $7 billion worldwide. As the X-Men's Wolverine, he has been a bankable franchise superhero, yet he's also starred in quality flicks like The Prestige, Prisoners and The Fountain.

Seemingly uncaring about any snickering perceptions regarding his sexuality, or how it might hamper his movie stardom, he has long been unabashed about his love of musical theater--starring on Broadway in 2004 as the gay icon Peter Allen in The Boy From Oz--which has led to his starring in movie musicals such as Les Miserables and The Greatest Showman.



Straight, though unafraid to flaunt flamboyant dance moves--and cheekily shake his ass for onstage closeups--he's been married to Deborra-Lee Furness for 23 years, and I don't recall ever noting any gossip or controversies. The Hollywood star lives in New York, but is clearly proud of his Australian heritage, also celebrating that country's aboriginal people.

Jackman has hosted the Tony Awards four times, the Oscars once and engages in delightful Twitter banter with his superhero pal, Ryan Reynolds.

And he just seems like a helluva nice guy.

Having seen him in The Boy From Oz and also the Broadway drama A Steady Rain, I've long been well aware of how talented Hugh Jackman is, across many realms.

With his current stadium tour, dubbed The Man, The Music, The Show--which landed at Chicago's United Center on Friday night--his diverse gifts and broad charm are even more greatly amplified.

At 7:15pm--fortunately the 14,000 ticket holders were forewarned that the show would start promptly, though a 15-minute cushion was provided--Jackman took the stage with "The Greatest Show," followed by "Come Alive," both from The Greatest Showman.



Backed by a large orchestra led by Patrick Vaccariello, with numerous dancers and backing vocalists, it was immediately clear that this was a well-planned and constructed show, directed by Warren Carlyle, who has helmed many a Broadway musical.

Throughout the night, Jackman would demonstrate remarkably dexterous skills as a singer, dancer, tap dancer, actor, pianist, drummer, emcee and more.

Amiable and glib, he recognized the UC as being not only where Michael Jordan had played, but also Luc Longley, an Australian who was the center on three Chicago Bulls championship teams.

Recalling his first stage audition, a successful one for Beauty and the Beast, he camped his was through that show's "Gaston," which segued into a tribute to his always-encouraging wife.


Noting that the Rolling Stones were playing at Soldier Field Friday night, Jackman told of Furness--who, per projected images, resembles his childhood crush, Olivia Newton-John--opting to hang with him early in their courtship, forgoing an invitation to party with Mick Jagger.

Sweetly, he dedicated the torch song, "All the Way"--and the entire show--to his wife, and told loving stories about his super-supportive father before mesmerizing with a magnificent rendition of "Soliloquy" from Carousel.

The star also wasn't afraid to share the stage, with the vast Windy City Gay Chorus & Treble Choir joining him on "You Will Be Found"--from the musical Dear Evan Hansen, composed by Benj Pasek & Justin Paul, who also did The Greatest Showman--and later on a medley from Les Misérables. (See video on YouTube.)

Female vocalist Jenna Lee James dazzled in a solo on Greatest Showman's "This is Me," while another woman whose name I didn't catch and can't find sang "I Dreamed a Dream" from Les Miz about as well as could be imagined.




After a 20-minute intermission amid what would be two full hours of performance, Jackman came back onstage in character as Peter Allen, reprising not only songs but some of his shtick from The Boy From Oz.

Bringing a young girl up to the catwalk stage, he adorably charmed her, her parents and presumably everyone in the arena.

Jackman made a point of introducing, showcasing and at times engaging with all of the musicians onstage with him, and one of the most moving parts of the show featured aboriginal performers performing a pair of native songs.

One of them, an elder named Olive Knight, then delivered a moving statement, thematically coinciding with Pride Month's message of inclusion, respect and love (and with Hugh urging the crowd to put Australia's outback on their bucket list).

You can see the Chicago setlist here--save for a song or two, it remains static from show-to-show--with Jackman's medley of songs from movie musicals just one more highlight of a truly impressive performance.


Though it's a great tune, no reason was provided by Jackman--as opposed to many enlightening song introductions--about why he covered Bobby Darin's "Mack the Knife" late in the show, and it puzzled a bit.



Clearly, everything performed was a number precious to the star, and that's good enough for me, but I would've relished "Oh, What a Beautiful Morning" from Rodgers & Hammerstein's Oklahoma--in which Jackman notably starred onstage--and/or something representing his announced return to Broadway (in late 2020) in The Music Man.

Also, though a recorded bit of AC/DC's "Thunderstruck" accompanied a tap dance routine along with some other rock songs, I'd be curious as to what Hugh might do in singing some Oz rock classics, such as Midnight Oil's "Beds are Burning" or INXS' "What You Need."

With fine staging, video screens and an enthusiastic, sold-out crowd, The Man, The Music, The Show fit well into the vast arena, but undoubtedly would've been even more enjoyable in a more intimate theater. So while I loved Jackman's performance and would recommend it to anyone--a Chicago encore is slated for October 11--from my perch up high in the back it didn't quite "get me" on par with the very best rock concerts or Broadway shows.


Still, excepting the likes of Gene Kelly, Fred Astaire, Frank Sinatra, Sammy Davis, Harry Belafonte and others from days of yore, it's hard to imagine any movie star (or even current Broadway performer) attempting a show & tour of this magnitude, let alone pulling it off with such panache.

I've heard nothing but great things about the Stones' show Friday night and I'm thrilled to be going on Tuesday, but it says a lot about my--now elevated--regard for Jackman that I was happy to be able to see him, even with "The World's Greatest Rock 'n Roll Band" also in town.

For if Hugh Jackman isn't the explicitly the Greatest Showman in our midst, he's undoubtedly the best theatrical-type performer who also happens to be a Marvel cinema superhero.

As he himself quipped, "Let's see Ryan Reynolds do that."



Posted by Seth Arkin at 10:02 PM
Labels: Concert Reviews, Hugh Jackman Chicago Review, Hugh Jackman Concert Review, Hugh Jackman Tour Review, Theater Reviews

[luzie]

Jun 23, 2019 18:49:58 GMT -5 jo said:

Looking back --

When the first YouTube uploads of clips from the show came, I thought these are going to be taken down immediately and that the promoters would be on them right away. I even consulted Valerie as to whether we can upload them on the forum without inviting complaints.

But the clips on YT and on social media ( twitter/Instagram/etc) became more and more available.


Then it dawned on me that the promoters must be using this phenomenon for the Hugh shows ( and maybe for other concerts, too) to promote the show by heavy word-of-mouth. Maybe?

In either case...and maybe even in the case of #TMTMTS, are we now seeing the social phenomenon on how massive audience support transcends the traditional types of publicity? Social media and other online channels have become the new important testimonials ( positive or negative) that draw people's attention -- or good old word of mouth, except the delivery channels are now not just instantanous but also very widespread ( across national boundaries)!

Also, were the advance sales rates so good that the promoters realized there was no need to sell the show any further? Hmmm.. food for thought, too?

We'll see...


Jo

Well, I stick to my opinion about the silly no press approach! Social media, YouTube ... isn't everything! Sure, fans check it out, a few others as well, but the general public certainly doesn't check out any social media about an artist just because - you have to search for it deliberately. None of my friends had heard about the tour if I hadn't told them about it! I don't know how promos for tours work anywhere else, but in Germany usually there is enough press coverage before and especially afterwards. A huge arena tour is something different than a Broadway show! I go to quite many pop and rock concerts or any other shows, and there are always enough reviews and also local and widely coverage about them, in particular when big stars tour. Just the weekend before last we've been at a huge stadium concert with over 70.000 people, and of course afterwards there were tons of media reports. After Hugh's Germany concerts there was ZERO coverage. In one morning show the morning after the Berlin show they had a photo of him on his bike at a red light in Berlin from the day before, but they didn't mention at all why he was in Berlin, resp. that he gave a concert there the night before. That is very odd! We have the impression that some media folks are miffed about this entire approach, because it's simply very unusual - hence these few snarky and rather negative reports about his show. We'll see how the press covers his next movies and handles him ....

Re presale for the German shows, unlike in Britain his tour was anything but a fast-selling item here. So a bit more promo and pre-coverage hadn't hurt. There are still too many people who don't have a clue that he can also sing and dance. Therefore the lack of press coverage is a great pity and a missed opportunity to make many more people aware of his versatility and his stage talents. It almost seems that except those who have attended his shows, nobody else should know about that.

[jo]

The NYTimes has released a mixed review which I am not able to appreciate because its supposed "critic" has the underlying premise that Hugh Jackman is unable to connect with the MSG audience! She also thinks only crowds in "the theatah" can appreciate the show and not an arena!

Huh ??!!...Rolleyes!!Rolleyes!!Rolleyes!!

Sorry I can't reproduce her review right now --will do that when I get home although why I should bother is a big puzzlement!

I was there to hear the roar of the crowd and deafening applause in all 3 shows I had attended! Had the show not pleased the arena crowd ...why hasn't word of mouth spread? That huge arena was packed in all 3 shows. The only complaint I heard from the lady beside me who said she is a Jackman fan (she practically saw the whole show thru the lens of her camera) was that Hugh did not do a half- hour encore like Elton John did!

I wonder if theNYTimes lady critic was miffed because she had to pay for her ticket? Or also wanted another half-hour of more songs? Or thinks arena audiences do not or cannot appreciate serious songs like two very different soliloquys which showed HJ's excellent dramatic talent to the fullest?

Had we not seen official reviews from the British Isles, people may think I am just biased -- but I wonder who is more biased between the 2 of us?

PS to hughmanity --- pls post at least the link if you come across the NYTimes review. Thanks !

Jo

[jo]

Digital Journal gives The show an "A" rating and lists down the reasons why it deserves it completely!

If anyone can please post it now - I won't be able to do that until many days later - thanks!

Jo

[mamaleh]

I was bemused by that Times review —not by Ben Brantley or Jesse Green but by a woman whose name I cannot recall. She thought HJ didn’t adequately connect with his audience. That line dumbfounded me. Connecting is something he does with great ease. What show did she see?

Earlier this evening I saw my fourth HJ show of the weekend, this time in Philadelphia. As much as I liked the MSG shows, I cannot imagine any other performance as spectacular or ingratiating as this one. He was loose, freewheeling and on fire throughout, whether joking Peter Allen-style with a latecomer or sending the show ticket of an erstwhile Price-Waterhouse employee out to be laminated. There were too many other similar delights to mention, but suffice to say the whole packed arena was with him all the way. That Times reporter definitely holds a minority opinion.

Ellen

[hughmanity]

Here's the link.  I was not on line all day yesterday, and just came across it this morning.  Read the whole thing with my mouth agape.  "Awkward" when talking about his own life? That he has never been.  "Red -Rimmed Eyes" ? Yes, when he recalled his dad and sang the emotional Soliloquy.  (and Valjean'sSoliloquy). Please.  Just wish this wasn't such a "prominent" review

www.nytimes.com/2019/06/30/theater/hugh-jackman-madison-square-garden-review.html

Jun 30, 2019 22:19:13 GMT -5 jo said:

The NYTimes has released a mixed review which I am not able to appreciate because its supposed "critic" has the underlying premise that Hugh Jackman is unable to connect with the MSG audience! She also thinks only crowds in "the theatah" can appreciate the show and not an arena!

Huh ??!!...Rolleyes!!Rolleyes!!Rolleyes!!

Sorry I can't reproduce her review right now --will do that when I get home although why I should bother is a big puzzlement!

I was there to hear the roar of the crowd and deafening applause in all 3 shows I had attended! Had the show not pleased the arena crowd ...why hasn't word of mouth spread? That huge arena was packed in all 3 shows. The only complaint I heard from the lady beside me who said she is a Jackman fan (she practically saw the whole show thru the lens of her camera) was that Hugh did not do a half- hour encore like Elton John did!

I wonder if theNYTimes lady critic was miffed because she had to pay for her ticket? Or also wanted another half-hour of more songs? Or thinks arena audiences do not or cannot appreciate serious songs like two very different soliloquys which showed HJ's excellent dramatic talent to the fullest?

Had we not seen official reviews from the British Isles, people may think I am just biased -- but I wonder who is more biased between the 2 of us?

PS to hughmanity --- pls post at least the link if you come across the NYTimes review. Thanks !

Jo

[ADMIN]

Here's the New York Times review mentioned above -

Review: Hugh Jackman Isn’t Quite the Greatest Showman in an Arena

His world tour “The Man. The Music. The Show.” stopped at Madison Square Garden.

But it would have been better on Broadway.

By Laura Collins-Hughes
June 30, 2019

Hugh Jackman during his arena tour concert “The Man. The Music. The Show.” at Madison Square Garden.
Credit The New York Times

Hugh Jackman is a shape-shifting master of showbiz: as the big-screen Wolverine, ripped and brooding; as a charismatic song-and-dance man, ripped and Broadway.

Arena concert tours, though, are their own special beast, and in the vastness of Madison Square Garden on Friday night, where he performed with a 22-piece orchestra and a team of acrobatic dancers, he never did fit all those thousands of fans in the palm of his hand.

“We’re going to get to know each other a little better by the end of the night,” Mr. Jackman promised a couple of numbers in, before he cast off the jacket and bow tie that went with his body-hugging tux pants.

But for all his razzle-dazzle over two and a half hardworking hours — starting with a pair of percussive pop numbers from the 2017 movie musical “The Greatest Showman,” in which he starred as P.T. Barnum — there was an inescapable sense of being kept at a distance, of Mr. Jackman holding himself in reserve.

He was a little awkward speaking about his own life, even in scripted patter; slipping into a character’s skin, he appeared much more at ease. But he also seemed conquered by the scale of the room, uncertain how to make the electric connection of live performance when so many of us were so far away. Fortunately — even thrillingly — he had some guest artists who knew how to pull that off.

The tour, titled “The Man. The Music. The Show.,” touched down at the Garden for three performances and continues across the United States before heading to Mr. Jackman’s native Australia in August and returning to North America in October. Packed with musical highlights from his idiosyncratic career, it borrows from two of his stage shows, “The Boy From Oz” — for which he won a 2004 Tony Award as the Australian composer and entertainer Peter Allen, a high-camp role he also inhabits here — and “Hugh Jackman, Back on Broadway.”

It draws most rewardingly, though, from “The Greatest Showman,” and from his relationship with that film’s songwriters, Benj Pasek and Justin Paul.

The night’s first moving moment arrived with a song from their Tony-winning musical “Dear Evan Hansen.” With Mr. Jackman playing piano at the start of “You Will Be Found,” the number deepened into a startling gorgeousness when the New York City Gay Men’s Chorus joined him onstage. (Having already performed a tribute to his wife, plucking her out of the audience for a couple of kisses, Mr. Jackman identified himself emphatically as an ally.)

“A Million Dreams,” sung in “The Greatest Showman” on a rooftop amid a field of billowing bedsheets, has been beautifully translated for the stage, with choreography by Warren Carlyle (who is also the show’s director) that includes lyrics performed in American Sign Language.


Keala Settle offered the evening’s one true blazing number. Credit The New York Times

But “This Is Me,” the movie’s Oscar-nominated anthem, proved the evening’s one true blazing number. With Mr. Paul at the piano and Mr. Pasek onstage nearby, the magnificent Keala Settle — who played Lettie, the bearded lady, in the film — entered in a sparkling jumpsuit and set the arena on fire through the force of her voice and presence.

Mr. Jackman never reached that level. With jumbo screens flanking the stage, he seemed to play less to the audience than to the cameras that tracked him. It was like watching the taping of a movie musical or variety show.

In close-ups on those screens, Mr. Jackman sometimes looked like a man feeling the pure joy of performing music he loves. But he also had red-rimmed eyes; if that was a sign of fatigue, who could blame him? Physically, the show is hugely demanding, which could be why he at times came across as rotely professional. Maybe he was rationing his energy.

The disconnect made me wish I were nearer — and in that sense, this show is a superb advertisement for the intimacy of Broadway. You’d never feel so far away in one of its theaters. Luckily, Mr. Jackman is scheduled to return there next year in “The Music Man.” It’s a safe bet that we’ll feel his considerable magnetism then, turned up to its full power.

Hugh Jackman: The Man. The Music. The Show.
Performed on Friday and Saturday at Madison Square Garden, Manhattan.

I have not seen this show YET and, while I agree that a smaller venue is always more intimate (and therefore preferable?) to a huge one, I think she's missing the point. "Apples to oranges" as it were, like comparing TBFO at The Imperial to Hugh's tour of the production Down Under. The two things defy comparison - and I'm more than happy to enjoy BOTH.

. . . IMHO - this "review" deserves a herd of turds!

Links to this woman's FB, Twitter, etc. HERE . . .

[hughmanity]

Here are two recent  reviews that take the decidedly opposite view of the venerable NYT

www.newsday.com/entertainment/music/hugh-jackman-garden-1.33127268

www.mcall.com/entertainment/lehigh-valley-music/mc-ent-hugh-jackman-review-wells-fargo-center-philadelphia-20190701-7hjbulj4ovb5ja4f3a7b7gdg4y-story.html

[mamaleh]

Ms. Collins-Hughes must have swallowed a cup of battery acid before forming her view of TMTMTS and its star.

Ellen

[hughmanity]

Great pics and video, Nancy...and at least YOUR hometown paper reviewer got it right! (Looking at you,  NYT)
(although seemingly unaware he actually has done a one-man show on Broadway)


www.ajc.com/blog/music/concert-review-hugh-jackman-proves-infectious-presence-dazzling-showman-atlanta/x2VNc5ki88yeAyVZIN9LHK/