“Professor” Hill peddles a crackpot theory claiming practice is no longer required for mastering a musical instrument.īefore he’s exposed as a fraud, he plans to be on a train to his next destination with the fees for uniforms and lessons safely in his possession. Jackman plays Harold Hill, the con man who hoodwinks the good citizens of River City, Iowa, into believing that he can transform their untrained youngsters into a professional-grade marching band. Orchestra seats, which sell for upwards of $600, might as well be marketed as honeymoon suites for this Broadway tryst. Jerry Zaks’ determinedly sunny production of Meredith Willson’s “The Music Man” is content to serve as an assignation between a megastar and his legion of fans. But deploying it in the service of something greater than a star vehicle can be tricky when theater customers are clamoring for a fix of their idol. The Australian superstar, world-famous for playing Wolverine in the “X-Men” franchise, won a Tony for playing Peter Allen in “The Boy From Oz,” received a special Tony for his contributions to the Broadway community and picked up an Emmy Award for hosting the Tonys, a service he’s performed with aplomb on several occasions.īroadway star power of Jackman’s or LuPone’s magnitude can’t be hidden under a bushel.
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Jackman may not have the Broadway longevity of LuPone, but he’s too much of an insider to be treated as a Hollywood carpetbagger. But I was dying to see what she’d do with Joanne, the role originated by Elaine Stritch, who long owned the character’s acidulous second-act number, “The Ladies Who Lunch.” I’ve been lucky enough to have seen LuPone in a number of landmark musicals ( “Gypsy,” “Sweeney Todd,” “Anything Goes”), and was champing at the bit to catch her in “Company.” The adventurous production was of course a major draw. What is shared is not blood but theatrical time, a meaningful measurement of life. Knowing a body in space, the parabolas of certain gestures, the side angles of expressions, the timbre of a wisecrack, the mood of a certain strut lend an illusion of kinship. The relationship an audience has to a Broadway star is all the more intense for being in-person.
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But when they make their stage entrances, the applause is similarly thunderous. Jackman is a global brand LuPone is more of an artisanal specialty.
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Jackman, a movie idol and showman who came into international prominence playing Curly in Trevor Nunn’s Royal National Theatre production of “Oklahoma!,” and LuPone, a Juilliard-trained actor whose Broadway coronation dates back to her Tony-winning tour de force in “Evita,” have traveled different paths to stardom.
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Even when LuPone is just shimmying along with the ensemble, her magnetism is as incontrovertible as a natural law. But there’s no confusion about who the audience is there to see. Katrina Lenk plays Bobbie in the gender-swapped version of this Stephen Sondheim-George Furth musical, directed by Marianne Elliott. Patti LuPone isn’t the lead in the new revival of “Company” at the Bernard B. But when Jackman appears on Broadway, he is the sun around which all other celestial bodies revolve. His co-star, two-time Tony winner Sutton Foster, is prominently featured on the marquee. Hugh Jackman stars in “The Music Man” at the Winter Garden Theatre in a production built entirely around his overpowering charisma and box-office muscle.
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One can set off an earthquake in ticket sales even in the midst of a pandemic the other can go viral by giving a tour of her basement, snatching a cellphone out of the hands of an audience member or simply being the subject of a hilarious send-up. But reports of this species being wiped out are greatly exaggerated.Īt the moment on Broadway, two nuclear-powered performers with avid theatrical followings are beaming bright in classic American musicals. Broadway stars might be thought of as extinct creatures from a bygone era of entertainment.