This jukebox musical stands out from others I’ve experienced thanks to its inventive staging.
A Beautiful Noise presents two versions of Neil Diamond—NOW (played by Robert Westenberg) and THEN (played by Nick Fradini). Westenberg’s Neil interacts with his psychiatrist (Lisa Reneé Pitts) through a series of therapy sessions. The present-day Neil listens as his doctor reads lyrics from an old copy of The Complete Works of Neil Diamond, often observing the younger Neil’s experiences alongside her on stage.
To my surprise, I never realized that the young Neil initially struggled with self-confidence when he broke into the music industry, composing hits for groups like The Monkees and The Beatles. He’s been compelled to attend therapy sessions at his third wife Katie’s urging, although she never appears onstage. Both Westenberg’s and Fradini’s portrayals of Neil show him as cranky and difficult, yet the psychiatrist is determined to get past his defences and help him reconcile the difference between Neil the performer and Neil the person.
There’s a lot to enjoy here, especially if you’re a fan. For younger audiences, A Beautiful Noise serves as a unique chance to experience an iconic vocalist presenting songs and stories in his own style—though I wish that were always true for impressionable youth.
Michael Mayer directs with clear attention to the singer, creating an opening-night performance full of Vegas-style flair that brings Anthony McCarten’s book to life. Yasmine Lee’s clever choreography (inspired by Steven Hoggett) and Miles Plant’s steady direction of musical duets—especially the moving You Don’t Bring Me Flowers between Fradiani and his second wife, Marcia Murphey—add depth to the show. However, after the exhilarating total show experience, I found myself feeling quite tired.
The production maintains an effective pace, in large part due to the ensemble, who efficiently manage set changes with skill and precision. They frequently appear behind the NOW Neil’s chair, serving as a constant reminder of where he comes from. Kevin Adams’ lighting design contributes significantly to the visual impact of the therapy sessions between Neil and his psychiatrist, while Jessica Paz’s sound engineering ensures clarity in the delivery of lyrics that are well-known among Neil’s audience. Fradini’s portrayal of Neil, alongside a strong supporting cast—impressively presented in Emilio Sosa’s period-specific, embellished costumes—skillfully brings numerous hits such as Sweet Caroline, A Beautiful Noise, and Cracklin’ Rosie to the stage under Sonny Paladino’s music supervision and orchestration.
Tiffany Tatreau and Mary Page Nance present two contrasting interpretations of Neil’s first wives, Jaye Posner and Marcia Murphey. Tatreau’s depiction of Jaye emphasizes her grounded, family-oriented nature, while Nance portrays Marcia as charismatic and alluring in their initial encounter at The Bitter End in Greenwich Village. Both characters ultimately separate from Neil for the same underlying reason: his prolonged absences make sustaining family life challenging, regardless of financial stability.
Heidi Kettenring’s music/record producer, Ellie Greenwich, is a comic tough-as-nails at first, when she gives the shy singer two minutes to sell himself and begins the countdown. Yet Kettenring’s Ellie genuinely becomes one of Neil’s top promoters and goes out of her way to ensure his sound and voice are front and centre, rather than him writing hit songs for other vocalists and groups. Gene Weygandt becomes the proverbial, entertaining stereotypical bad guy trope of a mobster when Fradini’s Neil signs with a questionable record company.
Lisa Reneé Pitts’ psychiatrist reveals a quiet resilience shaped by hard-earned life lessons. Her commitment to uncovering the root cause behind Neil’s conflicting personalities makes her stage presence compelling, especially when she confidently faces off against the much taller Westenberg in a bold, unyielding manner. This confrontation leaves a striking visual impact. Whether there is a breakthrough remains for future audiences to discover.
Jukebox musicals appear to be experiencing renewed popularity. Although A Beautiful Noise provided an enjoyable experience, it inevitably invites comparisons with Beautiful: The Carole King Story, previously featured in past Mirvish seasons. While Robert Westenberg and Nick Fradiani offered compelling portrayals of Neil Diamond, Chilina Kennedy’s depiction of Carole King remains particularly noteworthy. Kennedy’s performance was distinguished by her expressive piano playing and heartfelt delivery, creating a memorable impact. In contrast, although A Beautiful Noise features visually impressive choreography, its high-energy approach may become overwhelming over time.
If you’re a Neil Diamond fan, you’ll likely enjoy seeing The Neil Diamond Musical: A Beautiful Noise. For those unfamiliar with his music, some background on Diamond’s distinctive gravelly voice and signature denim style might be helpful before attending, as it explains his iconic status.
Running time: approximately two hours and 45 minutes with one interval/intermission.
The production runs to June 7 at the Princess of Wales Theatre, 300 King Street West, Toronto. For tickets: mirvish.com or call 1-800-461-3333.
THE NEIL DIAMOND MUSICAL: A BEAUTIFUL NOISE
Book by Anthony McCarten. Book and Lyrics by Neil Diamond
Directed by Michael Mayer
Choreographer: Steven Hoggett/ Tour Choreographer: Yasmine Lee
Music Supervision and Arrangements: Sonny Paladino
Music Director and Conductor: Miles Plant
Scenic Design: David Rockwell
Costume Design: Emilio Sosa
Lighting Design: Kevin Adams
Sound Design; Jessica Paz
Illusion Design: Jamie Harrison
Performers: Nick Fradiani, Robert Westenberg, Mayr Page Nance, Amber Ardolino, Lisa Reneé Pitts, Michael Accardo, Heidi Kettenring plus others listed in the programme.
