There’s a mass seduction going on nightly at the Broadhurst Theatre. In his one-man show Hugh Jackman, Back on Broadway, the Aussie performer has the audience eating out of the palm of his hand. It’s a charm explosion, the sort of dazzling exhibition that would make Al Jolson green with envy and be declared illegal in certain countries. Shamelessly flirting with male and female audience members alike, Jackman offers himself up for our delectation and--judging by the rapturous response--everyone is prepared to take him up on it.

Jackman is not a brilliant actor, singer or dancer. And yet he combines all three elements to fabulous effect in this song-and-dance show that is the sort of old-fashioned star entertainment that has all but become extinct.

From the very first moments, when he sings the opening notes of “Oh, What a Beautiful Morning” from offstage, he has the audience in his pocket. Casually strolling onstage while still singing, he cuts such a figure of masculine perfection that he almost seems a parody of himself.

But he effectively plays off his ridiculous good looks with ample doses of good-natured humor. He bumps, he grinds, he does pelvic thrusts and, if you’re sitting in one of the box seats, he might even sit in your lap.

The show, previously presented in San Francisco and Toronto, is essentially an autobiographical nightclub act, combining highlights from Jackman’s career with pop standards and songs from movies and Broadway musicals. The performer is certainly not shy about relating his long list of credits, and even accompanies his rendition of “L.O.V.E.” with a clip reel showcasing his film and television appearances.

Accompanied by an 18-piece orchestra and six back-up female singer/dancers, he rockets through a two-hour program that includes medleys devoted to movie music, dance-themed numbers and the songs of Peter Allen, who he portrayed so memorably in The Boy From Oz. Highlights include a gorgeous version of “Somewhere Over the Rainbow,” in which he’s movingly accompanied by aboriginal singers and musicians, and the first act finale, a magnificent rendition of “Soliloquy” from Carousel.

But it’s his uncanny rapport with the crowd that really forms the heart of the show. For the sultry number “Fever,” he selects an audience member for some hilarious up-close and personal interaction. And whether he’s cracking silly jokes about the short-lived Kardashian marriage and the NBA lockout, showing embarrassing childhood photos of himself or describing his training regiment to play Wolverine, he steals hearts with seeming effortlessness.  

He’s only scheduled for a limited run through the end of the year, and tickets will no doubt soon become difficult, if not impossible, to procure. Don’t hesitate—who knows when this sort of show business magic will come our way again?

Broadhurst Theatre, 235 W. 44th St. 212-239-6200. www.Telecharge.com.