author: Ryan J. Bordenski
Good times never seemed so good (so good! so good! so good!), especially when The Neil Diamond Musical: A Beautiful Noise, is here in town at The Hippodrome, and you will be tapping your feet and screaming the lyrics, as if you were at a Neil Diamond concert! Side note: a moment of celebration and high praises in store for this touring cast celebrating not only a little over two years of touring together, but this being their 700th Performance!!!
Directed by Michael Mayer, directed on tour by Austin Regan, music directed by Miles Plant, choreographed by Steven Hoggett, and executively produced by Trinity Wheeler, this show will have you shouting “bum bum bum!” all the way back home. Set primarily in Brooklyn, New York in the 1960s, with a fast-forwarded retrospective look at the life and career Neil Diamond had, this catchy 70s-rock-and-roll jukebox musical tells the story of one of the best-selling musicians in our nation’s history, Neil Diamond. The story is creatively told from the perspective of present-day Neil (labeled Neil – Now) as he participates in a therapy session with his doctor/therapist in modern day. During the session, the doctor (who remains unnamed in the show), gains possession of Neil Diamond’s songbook, and upon opening it, unleashes every note, lyric, story, personality, and inspiration that poured into Diamond’s decades-long career, retold by Neil – Then and his entourage. What is so interesting about this musical experience is how unique Act 1 feels from Act 2. Act 1 feels like watching a regular ole’ jukebox musical, where the characters burst into songs made famous by the stars themselves, but as you head into Act 2, things shift into what seems like a rock concert for Neil Diamond, followed by a long therapy session. It is easily the most unique, non-formulaic musical production I have seen, and of course jam-packed with the iconic earworms from Neil Diamond that will be stuck in your head for days to come. (More on those later!) However, while people love a jukebox musical and singing along to the major hits, it is important to remember proper theatregoer etiquette, where unless the performers invite you to sing along, you should not be singing along. In this show, there are clearly designated times and places where audience participation is encouraged, and that ‘fourth wall’ practically shatters. I personally think audience participation and involvement pulls people away from the story, but the audience was having a grand time, so I suppose it was alright. (Though I am still a bit weirded out by the audience hands reaching forward lol).
Director Michael Mayer does ‘beautiful’ work with his staging and utilization of the space, which is supported by Touring Director Austin Regan. The ensemble, labeled as “The Beautiful Noise,” are utilized extremely well in the show, and every movement or choice made felt intentional, to pull us into the let-me-tell-you-a-story-of-the-past vibe this show exudes. Depth is created by having the live band on stage during the “concert montage” of Act 2, with tiered levels, but also powerful moments where both of Neil’s wives, Jaye and Marsha, are on opposite ends of the stage, as Neil kisses one life goodbye in exchange for the other.
Scenic Designer David Rockwell does incredible work building in triangular set pieces that not only add depth to the space, but also emulate guitar strings, emphasizing the power behind the music making. The set overall was quite minimalist, but for this production where lights and cameras and flashy, bedazzling moments await in Act 2, it works extremely well. Huge shoutout for the attention to detail, and not overdoing painting the proverbial picture of the story’s setting, which we all know early on is New York, then later to California, then the world. Major shoutout during Diamond’s shame-spiral-of-loneliness in the motel scene where a neon bulb light saying “No Vacancy” is backwards/flipped to the audience, but to remind us that we are looking into Neil’s life, like a window into his very soul, and very clearly understands how reflections work, in the metaphorical and literal sense. Really cool touch!
Lighting Designer Kevin Adams, with support from Illusion Designer Jamie Harrison, packs a punch with the colorful lightshow spectacular that is presented in the production. The theater house is painted in orange and yellow at the start of the show, and there are mood lighting moments to match the songs like reds during “Cherry, Cherry” and blues and purples during “Forever in Blue Jeans.” Some lighting design elements were used to emulate photographs being taken, and others to build into the immersive experience that is a concert. One thing I noticed about the lighting, however, is at times it was very harsh, especially during the concert montage sequence in Act 2. There were so many lights moving around at once, and any direction I or the audience looked, we seemed to be temporarily blinded. If there is a way to have the lights move so that it doesn’t obstruct the vision of audience members during the show, particularly the elderly crowd that this show brings out, it may be a more enjoyable viewing experience.
Costume Designer Emilio Sosa, along with the Hair, Wig, and Makeup Design work of Luc Verschueren, brings outfits perfect for the time period, without overdoing it. I was especially impressed with the “Beautiful Noise” ensemble, and their nods to the 60s and 70s with color variations, patterns of paisley, argyle, stripes, swirls, etc. There is no denying the power that is behind the sequins and sparkles and fabulousness in Sosa’s costume choices for Neil – Then, as he goes from reserved yet sophisticated to superstar-sparkle-razzle-dazzle. There is also intentionality behind the costuming for Neil – Now, as he wears slacks and a gray shirt, signifying the color and light has left his life, as he accepts the fact he will never be able to perform again.
The vocals were so on-point for this production, but I would be completely remiss without celebrating the dancing and intricate movements from the cast, specifically “The Beautiful Noise.” It is crystal (err.. diamond?) clear that Steven Hoggett (and accompanying him Yasmine Lee as Associate Choreographer) has a wealth of knowledge on allowing choreography to play into visual storytelling, aid in scene transitions, emphasize explosive moments, emulate emotional responses, and keep the pulse of the show moving. Shoutout to Co-Dance Captains Jer and J’Kobe Wallace for their assistance with the fun dancing as well. There were times where the story to me slowed down a bit too much or fell rather flat (which is no fault of the performers as the script for this show is not excellently written), but the intentional, crisp, and cohesive movement of “The Beautiful Noise” truly made up for it (with amazing lines). Whether the ensemble members were dancing in an animated manner to move something off the stage, moving with the fluidity of a set piece, or sharp but sustained movements to emulate traveling through phases of life, every dance move was sublime.
Let’s be clear.. this show would not have much substance if it weren’t for the great, favorite hits of singer-songwriter Neil Diamond. Hats off to Music Director Miles Plant, as well as Music Supervisor and Arranger Sonny Paladino, Sound Designer Jessica Paz, and Music Coordinator John Miller for making this cast sound incredible. Between the dramatic swells, varying dynamics, interlocked harmonies, volume balance between music and performers, and of course, every chart-topping hit from Neil Diamond performed so well, the music in this production was sublime. (In a way, this element also makes up for the lack of depth in the script, but that’s alright). It is not easy conducting a live band, especially a vast one, let alone getting them to sound as amazing and incredible as they did, but major kudos to Miles Plant on his conducting and leadership, doubling as Keys 1 and Conductor, leading Julius LaFlamme as Associate Conductor and Keys 2, Ben Thomas Taylor on Guitar, Aamir Juman on Bass, Morgan Parker on Drums, Paul Baron on Trumpet/Flugel, Ricky D.A. Roshell on Reeds, Jonathan Dowd on Trombone, and Chaeyoung Son on Violin/Viola to esteemed music victory. The show itself musically balances Diamond’s music well with varying group numbers, solos, duets, trios, etc. to capture the music community we all share. Some highlights include “Brooklyn Roads,” “Cherry, Cherry,” “I’m A Believer,” (yes, the one from that movie/musical with the ogre!), “Song Sung Blue,” “Forever in Blue Jeans,” and of course, “Sweet Caroline.”
“The Beautiful Noise,” which is also coincidentally enough, the name of the ensemble members in this show, were so full of life and energy, as they captured every pivotal moment of Diamond’s life and career; whether he was signing his contract with Bang Records, literally jumping out of his song book to bring the story to life, or as his backup dancers during the concert montage, they really did it ALL! Those ten members, comprised of Emma Grace Bailey, Ninako Donville (Backup Singer), Christian Maxwell Henry (doubled as the “Look Out (Here Comes Tomorrow) soloist), Spencer Donovan Jones (who doubles later in the show as the “Shilo” soloist with sublime vocals and the most gorgeous and angelic falsetto), Ellen McGihon (doubled as a Backup Singer), Dimitri Joseph Moїse (doubled as the “Red, Red Wine” soloist), Olivia Quesada (Backup Singer), Nik Vlachos (“Kentucky Woman” soloist), J’Kobe Wallace, and Nazarria Workman (doubled as the “Boat that I Row” soloist, showed the audience the thoughts, feelings, emotions, and expressions Diamond experienced, all in human form. Emma Grace Bailey, Christian Maxwell Henry, and Spencer Donovan Jones also played the Bitter End Trio Singers (one of which played at this performance by swing Zoë Maloney. They were iconic! Also, quick shoutout to the remaining swings Denver Dizon, Matthew Fedorek, Rene Mirai Guyon, Jer, and Sami Murphy to be ready to go on at a moment’s notice, and the stand-by folks Joe Caskey and Tom Bottelsen! Overall, very grateful for the crew that was “The Beautiful Noise” for adding that additional layer of storytelling to the show; otherwise, I am not sure it would have been the most engaging, but their noise and presence was undeniably ‘beautiful.’
Adding to the cast of characters in some supporting roles and doubled-ensemble roles were Neil’s Jewish parents, Kieve and Rose Diamond (portrayed by Heidi Kettenring and Michael Accardo), intimidating and cruel record label owner Tommy O’Rourke (portrayed by Gene Weygandt), producer Bert Berns (also portrayed by Michael Accardo), and Fred Weintraub (also portrayed by Gene Weygandt). Kettenring also doubles as Ellie Greenwich at the recording studio, and she is hilarious with all of her line deliveries. Her New York accent is spot-on too.
Tiffany Tatreau brings Neil’s first wife, Jaye Posner, to life as she assumes the role of the housewife who takes care of the kids while her husband is off making a career name for himself. She had some very powerful moments, especially during “September Morn.” (Diamond married Jaye Posner in 1963, before divorcing in 1969).
Playing the Doctor/Therapist for Neil – Now is Lisa Renee Pitts, and while Pitts doesn’t have any opportunities to sing in the show, she really cuts deep and gets to what is eating away at Diamond at his core. Just like anyone in therapy could tell you, a lot of the problems people experience begin with childhood trauma, and Pitts’ character aids Neil in discovering his loneliness and desire to not ever be alone, started at a young age and has haunted him ever since. She has some comedic moments, but the best part is in Act 2 where that epiphany for Neil truly occurs.
Neil – Now, portrayed by Robert Westenberg, upon first glance is just a sad old man in a chair, reminiscing on his life and career, but upon further glance, you can see how much he has suppressed emotions and moments of joy that he once lived for. One thing that I was impressed with, despite the script not being fantastic, is the way the story was told. Rather than stick to formulaic childhood-adulthood story arc, the show, with the help of Neil – Now and the Doctor, starts at the launch of Neil’s career, then the climax of his career, before traveling back in time to address his childhood woes. I liked this storytelling element a lot, and it really made you feel for Neil – Now by the end. You may also shed a tear or several during his delivery of “I Am… I Said,” especially if you fall into the more-elderly age bracket. His chemistry with Pitts is very sweet too, and while she plays a clinical role, can tell she wants what’s best for Neil. (Plus she is obviously a HUGE fan!)
Stealing the show, taking names, becoming Neil’s second wife and biggest support system, whilst simultaneously not holding anything back as he approaches his career demise, is blonde bombshell Marcia Murphey, portrayed by Amber Ardolino. Holy smokes! Ardolino commands stage presence from the moment you see her enter, to the very end. Ardolino’s character, in my opinion, has the strongest story arc, and is impacted the most by Diamond’s career (excluding Diamond himself of course). She gives you temptation, sultry, voice-of-reason, female empowerment, remaining humble, supportive performer’s wife, and firecracker all wrapped up in one big package. Her dancing and performance during “Cherry, Cherry” is incredible, and honestly even better during “Forever in Blue Jeans,” where she struts around the stage in boots, skinny denim jeans, and tucked-in white shirt (epitome of country lady), and delivers explosive and astounding vocals, belts, and precision like you wouldn’t believe. Ardolino’s Marcia reminds us that fame, fortune, and power comes with a price, and at the end of the day, you must do what’s best to take back your life. She will give you goosebumps during “You Don’t Bring Me Flowers” and “Love on the Rocks.” Very impressive.
Bringing the heat, gravelly and raspy voice abounding, hitting every sung note with poise and ease, and perfecting the mannerisms is Nick Fradiani, as he brings Neil Diamond, listed as Neil – Then, to life! Fradiani’s vocals are absolutely incredible (which is no shocker considering Fradiani also was the American Idol 2015 winner!), but what is more incredible is how much Fradiani looks, acts, sounds, and feels like Neil Diamond, through every occasion of his creative life. It can be very big shoes to fill (not blue suede like that other guy) in bringing such an iconic music legend to life, but Fradiani took the challenge, ran with it across “America” and the “Brooklyn Roads,” and what came about was the quintessential portrayal of Neil Diamond at his prime. I loved watching Fradiani portray this character, as he has soooooooooo many times before (like I said earlier, 700 performances to be exact!), but it was both special and beautiful. Look out for his vocal capabilities shining through during “Sweet Caroline” and that impressive concert montage in Act 2. There is also a powerful instance in Act 2 where Neil – Now and Neil – Then “see” each other for the first time, and it’s very bittersweet.
The Neil Diamond Musical – A Beautiful Noise showcases “where it [all] began” for Neil, and I hope it can touch and inspire people the way it is supposed to, despite its very limited engagement stop here in Baltimore. The show emphasizes no matter what people are going through, or feel they cannot do any longer, it is important to remember there is always a beautiful noise inside all of us, ready to shout “bum bum bum!” and feel “so good!” with our dear friends and loved ones.
Running Time: Approximately 2 hours and 20 minutes with one intermission
A Beautiful Noise: The Neil Diamond Musical plays through June 28th 2026 at The Hippodrome Theatre inside The France-Merrick Performing Arts Center— 12 N. Eutaw Street in Baltimore’s Bromo Arts District. Tickets are available by calling the box office at 410-837-7400 or purchasing them in advance online.
