The next day, some critics knocked the show, clearly missing the point — it was obviously intended as a bouncing, flashy Broadway entity (like Allen himself), not a deep-rooted, docu-inspection of the Australian songwriter-showman's rise to fame and eventual death from AIDS.

But no one discounted Jackman's contribution: "Sensational! He can start rehearsing his acceptance speech anytime this morning" (Barnes, the [New York] Post). "When you die, the next best thing to going to heaven may be having a musical based on your life in which you are played by Hugh Jackman. (He is) dazzling" (Kissel, the [New York] Daily News). "A performance so overwhelming, so big it takes your breath away" (Hamburg, WOR Radio). "Hugh is so hot, steam rises from the seats at the Imperial Theatre" (Collins, WWOR-TV). My view: Put this in the books as one of the great Broadway debuts in the past 20-30 years, a magnificent throwback to the days when that rarity known as "a matinee idol" existed, helping money gush like an oil well onto the Big Street. (Jackman, for the record, has signed for a year's run in "Oz"; as long as he's in residence, there'll be little rest for the ticket sellers at the Imperial boxoffice. But heaven help Jackman standby Kevin Spirtas or understudy John Hill, excellent as they may be, if they ever have to go on in his place). Last weekend, CBS's "Sunday Morning" offered viewers clips of the singing and dancing Hugh in action — it was absolute magic. If you only know him as X-Man Wolverine, you will be blown away — and thrilled.

I am saving my pennies in hopes of getting to NYC ASAP to see the divine Jackman in action. (Hire me — will work for an orchestra seat!)

Love a good musical? Don't miss "The Boy from Oz."