In the movie “Hugh Jackman Live, from New York with love”, it does not seem to be Marvel Mega-SUPER-Orastrastar, the Tony award-winning, cannot overcome its show at Radio City Music Hall. “Look at us, go!” He called a childhood friend in the audience on the night I saw. “Who thought that?” At some point, while Jackman makes twenty -four shows there in the next ten months, his surprise may fade. However, this is a major aspect of Jackman’s attractiveness: a kind of sweet humility that is constantly refreshing. Although the actor played the starring role in five products in Broadway, the box office records are shredded as X-Men, he performed another retroactive effect (“Hugh Jackman, again in Broadway”, in 2011), Four Tony hosted the celebrations in Radio City, and the happy excitement that must be present remains intact. “I will never forget this,” said one of the crowd from the Sabbath, as he hunted a little in his voice.
Jackman, his beard is now a distinctive gray scheme, a three -piece suit, less than that, as if he was still playing a role in “The Music Man”, or perhaps the processor of faith in great microphone skills. Within a vibrant hour, forty -five minutes, he and Orksterrah, four reserve singers, and four dancers, offer a tour of his career in Hollywood and Broadway. The group menu includes many of the benj Pasek and Justin Paul from “The Great Showman”; A good piece of the cheerful Australian artist Peter Allen, who was interpreted by Jackman in “The boy from Oz”, Tony’s earning; During a sequence in which its sparkling bodies appear more at home, there are a few Neal Diaond strikes. (He recently finished filming a role as a real diamond, in a movie entitled “Song Sung Blue.”)
The dramatic peak, which is predicted, is that the handover of tears of “Soliloquy”, from “Les Misérables”, was presented with an excerpt from the Tom Hopper 2012 movie, where the actor played rehabilitated Jean Valgian played. “Here where I stand in the transformation of the years!” He screams, and we can compare his dark intensity with his younger righteous righteousness on the screen behind him. During the show that I attended, he also announced his love and thanks to everyone in the room, including Cameron McCain, the producer of this movie, which was somewhere in good seats; Usher Jackman sat in part of the improvisation of euphoria. Various collaborators; Once again, again, the Wolfirin fans and “Showman”-scream by the audience.
It was difficult to create the illusion of the intimate relationship offered, because Radio City is a barn. (At the longest point, the stage height is eight stories) to get a position on the high center, or in the lower stages, to get close. So we are very close – as in Tom Hooper “Soliloquy” – to any flash of weakness. Loudly, also, Jackman makes a kind of modesty scene. It allows the fun of singing to be outweigh the wonderful singers around it. (On the night she went, the backup singer Lauren Blackman was forced to intervene, after one of the performance was wounded, to sing the song Pasek-Paul “Never Cant”; Maintains the ego by choosing by placing itself between Virtuosos that cannot reach the beautiful parita on its effort – it cannot reach a large extent. Other superhero representatives may back down behind the shells when they do not pierce the walls. But Jackman doubles his theatrical aspirations, and his feeling of dread. It is a loyal to the lion’s skin.
And if we miss a moment of weakness, it is sure to refer to it. For example, before the story of Alexei Murdoch performed “All My Nays”, from the soundtrack of the robot box “Real Steel”, the audience tells that the song was used in the film to give up a scene without words, during which his personality sits, which is an award Unemployed, in a truck taxi, alone. On the day of filming, Jackman has just received bad news about his father’s health; While we see the clip, we deliberately roam us in real sadness as he thinks its performance.
Over and repeatedly, between jokes and froolics, Jackman explains his lack of guard and his emotional emotion, and embraces the accidental person who returns from the bathroom, or gives up the camera, with sadness, skeptical gratitude, or both. “Hugh Jackman Live, from New York with love,” despite the double title, it is the ministry like the Biz Show. It turns out that Gos, the best friend of the Jackman in the audience, is Jos Worland, a mental health defender, and Jackman speaks seriously about Warland’s work in preventing suicide and hidden pain. It is the topic of Jackman at night. “Don’t worry aloneHe says.
I do not think that Samuel Picky was thinking about a display of the song and professional dance when he wrote the “last rapb”, where the amazing Kormud is listening to the repetition notes to the cold that he made in the youngest, more optimistic days, but the wonderful Monodrama for Beckkett, since 1958 She does a strange rhyme with a brilliant Jackman evening. As part of an accurate sentence entitled “Beckett Briefs”, directed by Ciaán O’reillly, in the Irish actor, “KARPP”, also, TRAFFICS in celebrities and proximity, although in this little place you can only help you feel near The star, F. Murray Ibrahim. (Given the size of the house, you cannot get a great distance from it unless you hide in the hallway.)
Abraham, who won the Oscar in the role of Antonio Saliri in “Amadeus”, from 1984, is a major craftsman for self -hatred. Here he plays the role of coarse Krapp, and celebrates what may be his last birthday, as he drinks alcohol in intervals that he carefully with a pocket watch. Crape begins to register his annual memoirs, but it is dispersed, and instead it is preferable to the root through the boxes to find cabins for its youth and in middle age. (“Spooooool!”, He says, happy with a word in his mouth.) His consciousness seems to focus at that time and now on physical sensations at times of the Great Age – but it has been transformed -.
The other two players from Becken MicroPays are “not me”, which is performed by the amazing mouth (Sarah Street), which seems to be separated from a moment that may be death. What?… Who?.. No!… she! The mouth that has performed lipstick, whenever it appears to revolve around a woman who is suffering turning into a personality. In the quick “play” on an equal footing, Kate Forbes, Roger Dominic Casey, and the Street of the tormented love triangle members who continued in the world after this: tell them her side of a series of bad betrayals. Purgatorial and Wulfing, works are two dramas “after” becktyt, which use their briefing to hint in long existential suffering.
Each of these hallucinations decisively, revolves around United NationsListen: The mouth in “No I” denies his body; Jarred trio is linked to forever (the text program contains “repeated play” instructions) but do not hear each other. “Crape”, though, almost be everyone Listen. Ibrahim, as his recorded voice talks, adds to this feeling of attention by adopting the tape machine itself, which is a large object on his desk, which is the size of a bag. We can feel that his fist tightens its cold metal corners, just as a kraeb feels a thigh for a woman under his hand. The old self of KARPP is torture of it, full of beating in its place and the desire to get rid of the indispensable things. Looking – or, instead, he listens – contradicts the voice of the younger fool, as if he was presenting himself to the ruling. Here, in the pain of Ibrahim Shallala, we feel the global cold of thought retroactively. Even in Hugh Jackman’s charming and successful life that provokes the box office, we find the same desire to return to the past, to the younger image, and perhaps to the revolutionary judge. ♦
