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Regional Reviews: Seattle A Beautiful Noise
The show, with book by Anthony McCarten, directed by Michael Mayer and music and lyrics by Diamond himself, is framed and seen through the lens of a therapy session. An aging and ill Neil Diamond reluctantly narrates his account of life as a shy, depressive young artist, exploring his loves, successes and losses, while using his lyrics and music as prompts to explore his life. As the show starts, Neil - Now, played by veteran Broadway actor Robert Westenberg, talks about his early days as a songwriter. As he begins, the ensemble cast appears behind him in his chair. It is unclear if they are supposed to function as a sort of unspoken Greek chorus, past audience, or characters from his past. The ensemble, through the course of the show, strive to show the connection between Diamond and his nascent audience, and as back-up vocals and dancers throughout his career. The therapist, played by Lisa Renée Pitts, quietly drives the show by asking probing questions about Diamond's lyrics. This is perhaps the most challenging role in the show, as she is largely stationary, watching and listening to the action on the stage, while still being active through her interest, concern, and curiosity. She neither sings nor dances, but remains the focus of each scene she is in. Nick Fradiani (2015 winner of "American Idol") embodies the role of Neil - Then. His voice is spot on, and his musicianship is excellent. Despite his flawless imitation of Neil Diamond, Mr. Fradiani appears almost static and one dimensional on stage, especially in scenes with the strong woman characters and in front of the high-energy supporting ensemble. He is an admirable Diamond impersonator, but his acting energy and stage presence are comparatively weak. Speaking of the female roles, the women in the cast are standouts. Heidi Kettenring plays Ellie, the mentor who discovers Neil, encourages his musical sound, and launches his career. Despite her hard-boiled Brooklyn exterior, Ellie shows a subtle affection for Neil (and confidence in her own character), and Kettenring has a smile that steals the spotlight. She is 100% engaged 100% of the time. She also plays the brief role of Neil's mother Rose, which feels rushed and somewhat overpowered by Diamond's forceful anthem "America" playing over her acting. Tiffany Tatreau and Mary Page Nance play Neil's first and second wives, Jaye and Marcia, respectively. Each has a truly beautiful voice. Ms Tatreau is heartbreaking in her rendition of "Love On the Rocks" and deserves more time on stage to develop her character and allow the audience to connect with Jaye and her story. Likewise, Ms. Nance's Marcia, while a more substantial role, is largely one dimensional. She also deserves to be more complete and satisfying. Her solo, "Forever in Blue Jeans," shows off her expert vocals and formidable ability to command the stage. It is worth noting here that Neil Diamond's third wife, Katie, is only referenced briefly and has no role or function in the story. As mentioned above, the ensemble performs as part audience, part spectator, and as back-up vocals and dancers during Diamond's concert numbers. While the choreography isn't always precise, the enthusiasm and energy are genuine and often keep the audience engaged. Three members of the ensemble, Christian Maxwell Henry, Dimitri Joseph Moïse, and Nik Vlachos, deserve special mention due to their undeniable charisma and presence on stage. Also, Spencer Donovan Jones is hauntingly beautiful in his solo rendition of "Shilo," showing that some of the best moments in the show are when others are allowed to interpret Diamond's songs. The scenic design by David Rockwell is creative; due to the story taking place as memories in a therapist's office, the transition from Then to Now is distinguished by tall vertical bars reminiscent of a (psychological) prison cell that are opened and transformed by the lighting to suggest a large stadium concert stage. Emilio Sosa's costume design perfectly evokes the fashions and essence of the 1960s and '70s. The unintended irony of this show is that, while the story unfolds through the framework of a therapy session with the assurance of a breakthrough at the end, the audience is kept at arm's length and not able to share in the catharsis that is promised. We are in effect at times watching the therapist watch the older Neil watch the ensemble watch the younger Neil, thereby removing us from the actual drama. When the inevitable breakthrough comes, it is neither a surprise nor emotionally resonant. This has everything to do with the book, written by Anthony McCarten, and with the collaboration of Neil Diamond himself. The narrative is so tightly controlled that it suggests more questions than it answers. Increased insight into Neil Diamond could have been made by exploring his thematic inspiration (spirituality is a recurrent theme in songs such as "Soolaimon," "Brother Love's Traveling Salvation Show," etc.) or by exploring the stories of the women in his life. While A Beautiful Noise may be flawed, and may not be a transformative piece of theatre, the music is undeniably the soundtrack of a generation. See the show to hear the songs you love in the context of the life of the man who created them. The national tour director is Austin Regan, tour choreographer is Yasmine Lee, and tour music director is Miles Plant. The national tour stage management team is led by Richard A. Leigh with Rachel Heine and Benji Kern. The company management team is Erik Birkeland and Brad Siebeking. A Beautiful Noise runs through January 18, 2026, at Paramount Theatre, 911 Pine Street, Seattle WA. For tickets and information, please visit stgpresents.com or call 888-729-4718. For information on the tour, visit |
