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Writing for Us
A CurtainUp Review
The Boy From Oz
By Elyse Sommer
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. . .a man just like any other man, unlike any other man ---that man just like any other was of course Peter Allen, who, as played by Hugh Jackman is sufficiently more than just like any other performer to make Peter Allen worthy of the costly, kitschy Broadway tribute entitled The Boy From Oz. |
Hugh Jackman as Peter Allen
(Photo: Joan Marcus ) |
So why spend your money on this grade B musical that's had enough money thrown at it to masquerade as a grade A extravaganza? Believe it or not, I was able to come up with ten reasons to tell you that you could do worse. I'll count them up for you but with this caveat: Without reasons 1, 2 and 3, the rest would collapse like a sandcastle when the tide rushes in.
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Reasons 1, 2, and 3: Hugh Jackman, Hugh Jackman, Hugh Jackman. Until somebody writes a genuinely original musical worthy of the triple-threat Australian, The Boy From Oz is a fine showcase for his talents and personality. He's tall, dark and handsomer than Peter Allen, who like him hailed from Oz (short for Australia). Unlike Allen he doesn't play the piano, but from what I can recall, his acting, dancing and singing is superior and there's a sparkle in his blue eyes that's irresistible. For those who have become Jackman fans from seeing him as Wolverine in the X-Men films will be delighted with Jackman Live and as a bonafide musical star. His relaxed presence oozes likeable charm. (Actually, Jackman has long been a musical star in Australia and nabbed an Olivier for his portrayal of Curly in the London revival of Oklahoma.
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Reasons 4, 5, 7, 8: Four standout support performances. While Jackman is the heavy lifter not only in terms of selling tickets but as the show's charismatic center, he does get a strong assist from several supporting players, four of whom are standouts.
As Judy Garland boosted Allen's career when she hired him and his partner as her opening act, Isabel Keating adds a splash of grotesque fun as the middle-aged Judy who gave Allen his chance at American success and probably his claim to fame in the tabloid archives as his mother-in-law after he married her daughter Liza Minelli. If you look closely, Keating doesn't really look like Garland, but the gestures and expressions are so on target that the illusion smacks of the real thing. Her singing, while not as dead-on as the physical persona, has enough Judy-ish resonance to make for a portrayal that could well stand alone in a cabaret or TV impersonation show. I wish I could be as enthusiastic about Stephanie J. Block, who not only doesn't look like Liza but doesn't seem to get her. (To her credit, Block has a nice, belting voice and would probably do well in a role that doesn't call for her to channel a living celebrity.
In the more straightforward role of Allen's always supportive mom, Beth Fowler is the sort of warm loving cheerleader to make Jackman-Allen's always ready to look on the bright side personality believable. Her "Don't Cry For Me" is one of the show's more affecting solos. Michael Mullhearn hits two home run with two small parts -- first as Allen's less loving parent and most notably as Allen's gruff, wise-cracking agent.
Not to be passed over, there's 11-year-old Mitchel David Federan who as young Peter embodies the song that winds up the first act, "Not the Boy Next Door." Without being typically adorable to look at, a fact not helped by his droopy short pants, he steals the show whenever he turns up, whether climbing the piano (there's something of an over- abundance of piano climbing throughout this show) to sing "When I Get My Name in Lights" or as part of the big "I Go to Rio " finale. - Reason 9: The fabulous closing number. Speaking of that "I Go to Rio" finale this Busby Berkley extravaganza with a spectacular drop-down piano keyboard staircase makes for the sort of bang-up ending that Broadway does best. Unfortunately, this is also the only full scale production number. (Robin Wagner's other scenic work is effective, especially the changing cityscape backdrops). The re-creation of Allen's famous appearance with the Radio City Rockettes is cleverly done with mirrors and cutouts backed by real dancers but it seems to flash by too quickly. Director Philip Wm. McKinley would have done well to cut short some of the bathetic scenes between Peter and his lover Greg (Jarrod Emick a good singer who does the best with a stereotypical character) or the Peter and Liza scenes. The Australian flag waving "I Still Call Australia Home" could have been cut altogether.
- Reason 10: William Ivey Long's costumes. Long, as usual, adds a touch of elegance to the costumes even though he must adhere to the flash and glitter of the Allen era. He is at his most brilliant though in helping Keating and Black capture the instantly recognizable look of Garland and Liza.
| THE BOY FROM OZ
Music of Peter Allen & Others Book by Martin Sherman Original book by Nick Enright Director: Philip W. McKinley Choreographer: Joey McKneely Cast: Hugh Jackman (Peter Allen), Mitchel David Federan (Young Peter), Beth Fowler (Marion Woolnough), Michael Mulheren (Dick Woolnough and Dee Anthony), Timothy A. Fitz-Gerald (Chris Bell), Isabel Keating (Judy Garland), John Hill (Mark Herron), Stephanie J. Block (Liza Minnelli), Colleen Hawks, Tari Kelly and Stephanie Kurtzuba (Trio), Jarrod Emick (Greg Connell). Set Design: Robin Wagner Costume Design: William Ivey Long Lighting Design: Donald Holder Sound Design: ACME Sound Partners Hair Design: Paul Huntley Music Director: Patrick Vaccariello Orchestrations: Michael Gibson Music Coordinator: Michael Keller Dance Music Arrangements: Mark Hummel Running time: 2 hours 10 minutes with one 15 minute intermission. Imperial, 249 W. 45th St., ((Broadway/8th Av), 239-6200 Tues through Sat @ 8PM, Wed & Sat @ 2PM, Sun @ 3PM $101.2, $81.25, $71.25, $61.25 - Wed Mat $91.25, 71.25, 61.25, 51.25 From 5/18/03; with 10/16/03 opening. Reviewed by Elyse Sommer based on October 22nd press performance |
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Musical Numbers & Scenes
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Act One
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Act Two
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Mendes at the Donmar
Our Review
At This Theater
Leonard Maltin's 2003 Movie and Video Guide
Ridiculous!The Theatrical Life & Times of Charles Ludlam
Somewhere For Me, a Biography of Richard Rodgers
The New York Times Book of Broadway: On the Aisle for the Unforgettable Plays of the Last Century
6, 500 Comparative Phrases including 800 Shakespearean Metaphors by CurtainUp's editor.
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