Here’s some great news for anyone attending Comic-Con this year: Hugh Jackman himself is scheduled to have a special appearance! Although there is no news about him attending any talks (maybe lucky event-goers will see him show up at Thursday’s 20th Century Fox panel), Collider has informed fans that he’ll be there in support of Real Steel. Check out the details below:

The actor will be in the Petco parking lot tomorrow [Thursday, July 20th] morning at 10:30am PST along with the Real Steel truck that will be driving around San Diego this weekend. Jackman will be handing out free toys and swag for the Shawn Levy-directed robot boxing flick.

There’s a bit of delay in posting this, but I was waiting for the video of the interview to finally show up! Anyway, here’s a really great (and long) interview by QTV, promoting Hugh Jackman’s Toronto performances and speaking about his career. There may not be any new information, but there’s a lot of insight into Hugh and the Hollywood life.

Hugh Jackman takes care of his own, so when the actor flew to Toronto earlier this month to perform in a one-man show, he brought along his kids and the family’s 10-month-old French bulldog Dali – in first class!

The lucky pup will soon rack up even more frequent-flier miles: After Hugh Jackman in Concert ends its run this weekend, the family, with Dali in tow, will jet off for their summer vacation.

“He’s coming to Europe with us,” Jackman’s wife, Deborra-Lee Furness, told PEOPLE at the July 13 Cinema Society screening of Snow Flower and the Secret Fan. “He’s part of the family.”

Dali may have a French pedigree, but he also has a Spanish spirit, thanks to his name. “My son, [Oscar], is an artist, and his favorite artist is Salvador Dalí,” Furness said. “Because of the way [the dog's] mouth curls, he looks like Salvador Dalí with a mustache.”

She added, “He’s got a face only a mother could love.”

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Hugh Jackman’s one-man show opened in Toronto this week — and boy, is it hot.

I wrote about “Hugh Jackman in Concert” in May, when it opened in San Francisco, and while the reviews were pretty strong, the word-of-mouth in the theater industry was “needs work.”

Jackman and his director, Warren Carlyle, who staged the charming “Finian’s Rainbow” on Broadway last year, took that sotto voce criticism to heart. They’ve been tightening and polishing, and judging from the ecstatic reviews this week, the show is now ready for Broadway.

And, in fact, there’s a scramble to sort out Jackman’s movie schedule — he’s doing another installment of “Wolverine” in Europe this fall — and bring the show in later this year.

It would be a limited run — 12 to 15 weeks — at a desirable theater, possibly the Broadhurst, which may be available after Labor Day if the struggling “Baby It’s You” falls by the wayside.

“It should come in as soon as possible to capitalize on the reviews in Toronto,” says a production source. “We don’t want to wait too long.”

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The four-star review in the Toronto Star summed up Jackman’s turn this way: “His 100-minute show packs more sheer talent in it than you might have thought possible . . . The man is an absolute wow.”

“Hugh Jackman in Concert” is about as simple as it gets — a couple of sexy backup singers, some projections and a band, all in service of Mr. Charisma.

In San Francisco, the show was a bit ramshackle, with a Vegas-y feel and cruise-ship choreography, say people involved in it.

The new version is slicker, tighter and more elegant. Jackman does his old Peter Allen bit — he became a star, after all, in “The Boy From Oz” — but his tribute to Judy Garland, “Quiet Please, There’s a Lady on Stage,” is now restrained and deeply moving.

And everybody’s raving about his rendition of the famous Rodgers and Hammerstein “Soliloquy” from “Carousel.”

Around Broadway, the feeling is that Jackman should take advantage of the fall theater schedule, which is pretty light on musicals, and clean up.

“He’ll sell out in about five minutes,” says a ticket agent. “His only competition is Harry Connick Jr.”

Connick opens in “On a Clear Day You Can See Forever” in November.

Here are your marching orders, Hugh: Get those silly Wolverine scenes out of the way, lose the lupine ears and break out the Peter Allen maracas.

Broadway could use a little Jackman come Christmastime.

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Another article – this one courtesy of Canada’s The Globe & Mail – has been added to the Press Archive. The piece highlights the upcoming shows in Toronto and what to expect, including a moment of intimacy with a segment devoted to Hugh’s wife. It’s a really great introspective article with some nice details. See an excerpt below:

It’s tough, all this multitasking. Every two hours, Hugh Jackman was supposed to eat a mini-meal – vegetables and lean protein only – to bulk up for the film he’ll be shooting in the fall, The Wolverine, yet another iteration of his adamantium-clawed X-Men character. But as fast as he was putting calories in, he was burning them off, because he was also prepping a two-week run of a song-and-dance show, complete with an 18-piece orchestra, that he’ll launch July 5 at Toronto’s Princess of Wales Theatre. On a June afternoon about a month before his opening, he was holding court in the basement bar of the theatre next door, chatting up such an eager succession of reporters that all he had time to ingest were some nuts and a bottle of vitamin water.

Still, something was working. Jackman, 42, was super-charming, engaged, Aussie accent in full bloom. He made the reporter before me blush by telling her she was the spitting image of his first girlfriend, when he was 14. “She dumped me at a bus stop,” he said. “She was crazy,” the reporter managed to stammer. When I faced him, he looked tall (he’s 6-foot-3) and trim in a short-sleeved polo shirt. But then he crossed his arms behind his head, and – bam! – out popped humongous biceps, like mountains on the horizon of his humeri.

Jackman has always been a mixed bag. Nasty enough for action flicks (Swordfish, Van Helsing), pretty enough for romances (Australia, Kate & Leopold), soulful enough for dramas (The Fountain, The Prestige), he was also gutsy enough to put his film career on hold at its first peak in 2003 and head to Broadway to play Peter Allen, the gay Australian choreographer, in the musical The Boy from Oz.

“The idea of doing Broadway in sequins for a year didn’t seem smart,” Jackman says. “But I’d been offered the part years earlier and strategized my way out of it. When I saw how terrific it was, it made me sick to the stomach that I’d let it go. I wasn’t going to let that happen again.” He won a Tony for it, and a three-year gig hosting the Tony Awards. And he no longer strategizes.

“My agent does, a bit,” Jackman says, “but only as far as ‘I think you’ve got the talent to be an actor when you’re 85, and I want to protect that.’ It’s long-term, which I like.”

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