Hugh Jackman in The Music Man — Page 10

JayElle said: "Good to know Sweetlips. I thought the producer selected the cast. He seems to get his fingers into everything."

That's true in theory, but the theory only occasionally governs who gets the ultimate say. You might enjoy the chapter entitled "The Muscle" in William Goldman's essential book on Broadway in the mid-20th century, THE SEASON. (A couple of the chapters are out-of-date because the book was written before ticketing became computerized, for example; but most of it is still relevant fifty years after publication.)

The Muscle, as Goldman uses the term, is the party with the best track record and/or most forceful personality among the creative team. To paraphrase Goldman, The Muscle might be the star if the star is Ethel Merman or Mary Martin--UNLESS the director is Jerome Robbins (GYPSY) or Gower Champion (I DO! I DO!). The Muscle was definitely the producer if s/he was David Merrick (again, unless Champion was directing) or Hal Prince.

Goldman then goes on to caution us about productions where The Muscle is the costumer or the lyricist. His point was to object to critics who write something like "Joshua Logan forces Mary Martin into the most unflattering postures", saying one can be sure Miss Martin did nothing she did not bloody want to do. (This is NOT his example; I'm just making it up because I had eye surgery today; I'm fine, but I can't go reread the chapter at the moment.)

Updated On: 3/20/19 at 01:49 AM

GavestonPS said: "JayElle said: "Good to know Sweetlips. I thought the producer selected the cast. He seems to get his fingers into everything."

That's true in theory, but the theory only occasionally governs who gets the ultimate say. You might enjoy the chapter entitled "The Muscle" in William Goldman's essential book on Broadway in the mid-20th century, THE SEASON. (A couple of the chapters are out-of-date because the book was written before ticketing became computerized, for example; but most of it is still relevant fifty years after publication.)

The Muscle, as Goldman uses the term, is the party with the best track record and/or most forceful personality among the creative team. To paraphraseGoldman, The Muscle might be the star if the star is Ethel Merman or Mary Martin--UNLESS the director is Jerome Robbins (GYPSY) or Gower Champion (I DO! I DO!). The Muscle was definitely the producer if s/he was David Merrick (again, unless Champion was directing) or Hal Prince.

Goldman then goes on to caution us about productions where The Muscle is the costumer or the lyricist. His point was to object to critics who write something like "Joshua Logan forces Mary Martin into the most unflattering postures", saying one can be sure Miss Martin did nothing she did not bloody want to do. (This is NOT his example; I'm just making it up because I had eye surgery today; I'm fine, but I can't go reread the chapter at the moment.)"

If I recall right --

When TheBoyFromOz was in early rehearsals or pre-rehearsals, the Gershwin Theatre became available and an offer was given to that production the choice to transfer there from the smaller-sized Imperial. They decided not to go ( instead it eventually went to Wicked) - who made the decision to stay at the Imperial? Not the producer ...or the director ...but Hugh Jackman! He thought the Imperial would suit him better in terms of the appropriateness to the show.

Updated On: 3/20/19 at 03:53 AM

Now and then I have to remind myself that Chenoweth is not just a personality, but a uniquely talented artist.

That clip is from The Music Man DVD. "Til There Was You" has been covered a thousand times -- iTunes gives up after 100 -- but even without the gorgeous photography and the small hand gestures that's still one of the best vocals.

Yes, elapsed time between youth and middle age goes by quickly and I don't think that vision could be recreated. And it does fall harder on women. Few care whether Jackman is 40 or 50.

I am pretty sure about that - it was the Gershwin that was available for consideration because the theatre mentioned then was where Wicked eventually took residency. Maybe at that time the TBFO production still had an option as to theatre choice? That was in summer of 2003.

In his own words, Rudin has said that he is more of a control freak, but it is likely that Rudin and Jackman will have mutual trust and respect for each other on the important decisions affecting the forthcoming revival of The Music Man. Hugh has had some film producing experience himself ( sometimes as uncredited producer, for his solo Wolverine films and The Greatest Showman) so it is not as if he could not be on top of key issues involved in major projects.

Also, it is not as if Jackman does not have other choices when he wants to return to Broadway . More recently, he has mentioned that he was liking the many theatre material coming his way...and has said he was keen to do another book musical, without mentioning whether it would be new or a revival. The choice of The Music Man was actually a surprise to those who follow his career because he is known to like new material. He was last attached to a Schwartz musical under development then ( "Houdini" ) but because of delays, he had to opt out of it due to film commitments. Not sure if he was seriously interested in another Schwartz musical ( due for an English version) "Schikaneder" but he did see the show in Vienna to which he was invited... He will have a busy schedule as his 75-date music tour ( spanning many countries in Europe, many cities in the USA, Canada, Australia and New Zealand) ends in September and he will segue into a Warner Bros film project (REMINISCENCE, a romantic sci-fi thriller) immediately in October. It is hoped that he will have time to film another movie after that and before he starts rehearsals for The Music Man. His choices straddle between film and stage projects.

Updated On: 3/20/19 at 10:21 AM

Jackman also formed some great friendships with some key Broadway people, especially the late Gerry Schoenfeld of the Shubert Organization and then President of the powerful Broadway League. He loved Hugh's performance in The Boy from Oz and was said to walk over to the Imperial from his Shubert office a few times a week just to see Hugh in the finale. Hugh was one of the speakers when a Shubert theatre was renamed the Schoenfeld and also wrote the foreword for the book that was published after his death. The night he passed on, Mr. Schoenfeld was at the premiere of Hugh's movie AUSTRALIA. He would often call Hugh then to ask him to leave Hollywood and return to Broadway where he belonged.

Hugh has also been the top fundraiser for BC/EFA and was given a second TONY partly for his humanitarian work for Broadway's favorite charity ( and partly for the tremendous success of his one-man variety show BackOnBroadway which technically could not qualify for a regular TONY). He has also served as host to the TONYs 4 times. His shows have all returned profitably to investors. He was never a prima donna and is known for being very well-liked. So, there are many reasons why a producer like Scott Rudin would find him a very attractive draw in his stage projects.

Updated On: 3/20/19 at 12:02 PM

Sweetlips, re Rosie, "what did she do to shoot herself in foot" as you put it?

Looks like we have Marian.... Sutton Foster!! https://twitter.com/RealHughJackman/status/1110154411354009602

Ya I will 100% use all my money in my wallet to see this!!! Ill worry for the next year and a half worrying about how to make the money back for this lol. Tickets go on sale in June right?

schubox asked " they're going to put tickets onsale 16 months early?"

what makes anyone think that


"

Group tickets on sale beginning Sunday, June 9, 2019

Single tickets on sale beginning Sunday, September 15, 2019