Nick Fradiani as ‘Neil – Then’ (center) and ‘The Noise’ in A Beautiful Noise The Neil Diamond Musical – (Image credit Jeremy Daniel)
By GUILHERME MELETTI YAZBEK
Guilherme is a Brazilian theater practitioner and scholar, currently pursuing a PhD in Theatre and Performance Studies at the University of Pittsburgh.
A day before going to see the musical, I called my mom in Brazil. I told her I was excited because I was going to see the show, but I wasn’t sure if I actually knew any Neil Diamond songs… “Nonsense!” she said, “Of course you do! They’re amazing!” With a quick online search, I immediately recognized Sweet Caroline (of course), but to be honest, not that many other songs sounded familiar. Maybe it’s a generational thing—and I couldn’t help noticing that the vast majority of people in the audience were of advanced age—maybe it’s geographical (though Diamond had enormous success outside the United States as well). Either way, it didn’t really matter. What matters here is that even without knowing most of the songs, I had a deeply fun and human experience watching A Beautiful Noise.
The musical premiered on Broadway in 2022 and went on a national tour in mid-2024. It’s worth noting that the show was created with the approval and collaboration of Diamond himself, who, unfortunately, has been away from the stage since 2018 due to health reasons. Anthony McCarten’s book sets up an overlap of timelines and a fictional framing that is at once deeply personal and, in a way, universal—allowing the musical to move beyond “just” being a biographical show and instead inviting the entire audience to reflect. The premise is simple: we see an older Neil Diamond beginning psychotherapy sessions. On one hand, this structure allows for a chronological narrative of the musician’s life and provides the perfect recipe for a jukebox musical: we follow his journey and struggles while moving along with his songs. On the other hand, by placing it within a therapy session, the musical takes flight into something more expansive, allowing each of us in the audience (even those of us without international fame or millions in the bank, like me) to connect with the hero’s journey of self-discovery. Yes, at times the show feels very much like a hero’s journey, especially in the first act.
Michael Mayer’s direction is conservative, but effective. What we see on stage is a layering of past and present. Two sturdy armchairs metonymically establish the therapy office, sliding across the stage but never leaving it. Robert Westerberg, convincingly playing the older Diamond, and Lisa Reneé Pitts as the doctor, with beautiful stage presence and total control of the scenes, never leave the stage; they witness the scenes from the protagonist’s past as if watching a film. And really, who hasn’t felt at times that our memories play out like movie scenes tucked away in more or less dusty drawers of the mind?
A central element of the staging is the ensemble. Small, but mighty! The cast—beautifully diverse (kudos to the production!)—has a palpable synergy and genuinely seems to be having fun on stage (which, in my view, makes it much easier for us spectators to have fun as well!). In the first act, the ensemble is embedded in the dramatic action, playing minor roles (like the crowd in the first bar where Diamond performed) with more restrained movement. In the second act, though, the ensemble transforms into a full-fledged Broadway chorus, with greater choreographic power and all that jazz! Steven Hoggett’s choreography aligns closely with the narrative, helping to highlight emotions in each moment. On one hand, this gives the songs greater prominence (which may have been Mayer’s choice); on the other hand, it leaves dance-lovers like me craving more. Personally, I’d rather see something strange, bold, risky—choreography as a language in itself—than a well-behaved choreography that “only” helps push the story forward and set the mood (but, this is not about me, right?).
Among the visual elements, it’s impossible not to mention Luc Verschueren’s meticulous wig and hair design; bravo! Emilio Sosa’s costumes deliver all the color, 1970s prints, and a lot (a whole lot!) of sparkle. David Rockwell’s scenic design seems to draw inspiration from the strings of a guitar, transforming them into a dreamlike landscape that shifts scene by scene. The use of mobile screens, anticipated by Adolphe Appia in the late 19th century, ran through the 20th, and continues to be used exhaustively today. Rockwell’s design doesn’t reinvent the wheel, nor does it push boundaries too far, but it adds dynamism and is pleasing to the eye. I found the second act stronger than the first, which at times felt cluttered with endless retro chandeliers overcrowding the stage. The show gains even more punch in the second act with the entrance of the live band.
(Image credit Jeremy Daniel)
I saved the diamond for last. Nick Fradiani is at ease on stage as the young Neil Diamond, performing without exaggeration or mannerism, remaining true to what is built as the character’s persona: the “real” Diamond. Fradiani shines in his solos, singing the songs the audience came for (and which I loved discovering). But his brightest moments are in duets: whether alongside Tiffany Tatreau’s mellifluous vocals (as Diamond’s first wife), Hannah Jewel Kohn’s vigorous presence (as the second wife), or with Westerberg himself, in moving mirrored scenes where past and present overlap. It’s impossible to end this review without celebrating Kate A. Mulligan’s maturity, presence, and impeccable comic timing, as well as Cooper Clack’s vibrant energy.
A Beautiful Noise, The Neil Diamond Musical, is a truly entertaining ride! The staging seems to suffer from the same syndrome the character jokingly claims to have: Yes-Mania. Does it have lush musical arrangements that make you feel like flying? Yes! A moving set? Yes! LED lights built into the scenery? Yes, of course! Joyful dance numbers in most scenes? Yes! Super colorful costumes? Yes! Sparkle, sparkle, sparkle? Yes! Want even more? Yes! Add to that streamers, rain, and a sing-along moment! Is it over the top? Yes! But hey, it’s Broadway, baby—where American bigness turns into entertainment. And yes, it truly entertains.
There are still a few tickets left. Don’t miss it! Trust me… few things are as exhilarating as belting out Sweet Caroline karaoke-style with hundreds of voices in the stunning Benedum hall. Ah, the theatre!
TICKETS AND DETAILS
Pittsburgh Culturtal Trust’s PNC Broadway in Pittsburgh presents A Beautiful Noise, The Neil Diamond Musical at the Benedum, now through September 14th. Tickets at: https://trustarts.org/production/100435/a-beautiful-noise
Categories: Arts and Ideas
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