Review Roundup: Hugh Jackman's THE MAN. THE MUSIC. THE SHOW. Opens in Glasgow

Review Roundup: Hugh Jackman's THE MAN. THE MUSIC. THE SHOW. Opens in Glasgow

Hugh Jackman has opened his The Man. The Music. The Show. tour in Glasgow.

Hugh Jackman's The Man. The Music. The Show. will see Jackman perform a new show with hit songs from The Greatest Showman, Les Misérables and more from Broadway and film, accompanied by a live orchestra.

Was he everything the critics ever wanted? Read the reviews below!

Note: These are reviews for the UK leg of the tour

Natalie O'Donoghue, BroadwayWorld: Something I found particularly remarkable about the show was how unique it felt to the city it was being performed in. The choir featured in the show were from Glasgow, as was musical theatre performer Jenna Lee James who sang a stunning "I Dreamed A Dream" during the Les Miserables segment of the performance. Jackman was keen to involve the audience and have playful banter with audience members throughout.

Lisa-Marie Ferla, The Arts Desk: A two-act structure allows Jackman to play for both drama ("Valjean's Soliloquy", from Les Miserables), and laughs (a lengthy segment inspired by his Tony award-winning role as Peter Allen in The Boy From Oz, in which Jackman manages to stay in character for three costume changes and a dance with a member of the audience). But like any great showman, he also knows when to step back, giving Glaswegian singer Jenna Lee-James a chance to shine during "I Dreamed A Dream" and introducing Aboriginal musicians including tribal elder Olive Knight who join him for a stunning rendition of "Over The Rainbow."

David Pollock, Telegraph: "Congratulations, you've all passed Musical Theatre 101," purred Hugh Jackman, after an affecting rendition of My Boy Bill from Rodgers and Hammerstein's Carousel. Carousel is hardly esoteric, but it was about as niche as the set list got at this first night of Jackman's debut European musical tour.

Subtitled "The Man. The Music. The Show", Jackman's new live set with orchestra and a troupe of dancers is a version of previous one-man shows that had brief runs on Broadway and in his native Australia.

Mark Fisher, The Guardian: Such self-awareness is part of his charm, as is his willingness to engage directly with the audience, making a 13,000-capacity venue seem intimate. If he is acting that smile at the end of his first number, it is acting of the highest order. He looks to be genuinely delighted. Of course, he can turn on the celebrity pizzazz, but he remembers to turn it off again too. "It's so good to be in a place where you're finally called Shuggie," he tells the Glasgow crowd with a winning grin.

Paul Little, The Times: A chameleon-like versatility is not often a prerequisite for a male Hollywood star, as long as they can look good and turn on the charisma, yet for Hugh Jackman, the Australian actor, a combination of charm, being multi-talented and possessing leading man looks defines him.

Here, in The Man, The Music, The Show world tour at the Hydro in Glasgow, Jackman, 50, completed his accidental transformation into a bona fide arena pop star.

Steven MacKenzie, The Big Issue: Moments like this walk the tightrope of over-the-top sentimentality but balance is kept by Jackman's natural charisma and authenticity, which he has brought to every film role, whether adamantium-endowed mutant, French bread thief, grizzled ski jump instructor, prestigious magician, robot boxing coach or Van Helsing.

Graeme Thomson, Daily Mail: A soliloquy from Carousel. A mini Les Mis set-piece. A glitzy homage to the golden age of screen. Tap dancing. Mack The Knife. A rhythmic mash-up of rock songs. It's all here, executed impeccably, though a section where Jackman camps it up as late Australian songwriter Peter Allen settles too readily for the broad comedy of arched eyebrows and persistent bum-wiggling.

The mood never settles but Jackman provides a charismatic fixed point. He acknow-ledges his sex-symbol status with humour, balances the schmaltz with blokey directness and projects carefully choreographed intimacy, linking songs to key moments in his life.

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