The Boy From Oz (Imperial Theatre)

Private workshop: April 8, 2002 – May 5, 2002
Run date: 16 September 2003 – 12 September 2004
Theater: Imperial Theatre (New York, NY)

Cast: Hugh Jackman (Peter Allen), Isabel Keating (Judy Garland), Stephanie J. Block (Liza Minnelli), Beth Fowler (Marion Woolnough), Jarrod Emick (Greg Connell), John Hill (Mark Herron)

Libretti by: Nick Enright
Lyrics by: Peter Allen
Music by: Peter Allen

Directed by: Philip William McKinley
Choreographed by: Joey McKneely

Starring Hollywood heartthrob Hugh Jackman, The Boy from Oz tells the dazzling, funny and heartbreaking story of Peter Allen, from humble beginnings growing up in the Australian outback through a meteoric rise to fame and international stardom. Allen became a superstar in the 1980s, best known for hits like “I Honestly Love You,” “I Go to Rio” and for winning the Academy Award for the theme song from the film Arthur, as well as having been discovered by Judy Garland, marrying her daughter, Liza Minnelli, and his record-breaking runs at Radio City Music Hall.


An asterisk (*) denotes a song featuring Hugh.

» Reviews

“His limbs twirling like the blades of a windmill, Mr. Jackman channels the energy that was Allen with a rejuvenating life force all his own. And you don’t feel — as you so often do with such interpretations — that your memories of the prototype have been blurred. This is a performance that, against the odds, holds on to its integrity.”
NEW YORK TIMES

“He dances and sings up a storm, mimicking Allen’s flamboyant gestures, hip swivels, vocal inflections, and impromptu-appearing dance steps with vivid, piquant precision. He’s got a mammoth singing and dancing load, which he carries with the same effortless zeal as he does his easygoing manner and ingratiating grin. If he never makes you forget Allen, he is every bit a superstar, and that’s good enough.”
TALKIN’ BROADWAY

“What you’ve heard is true: Hugh Jackman is indefatigably entertaining in The Boy From Oz. His voice has the heat of molten steel pouring from a Bessemer vat. He’s got a chiseled face and figure to send women (and certain men) into Victorian swoons. He moves with the kind of grace common to the white tigers now temporarily laid off from the Siegfried and Roy show. He has a smile that warms an entire auditorium. In short, he stands a good chance of keeping this much-discussed production afloat as long as he remains in it.”
THEATER MANIA

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