To fully appreciate “A Beautiful Noise - the Neil Diamond Musical,” playing at Proctors through Sunday, you have to create a no-judgment zone.
For instance, if you are a Broadway purist and hate it when an audience member starts singing with a performer- get over it. Being annoyed at neighbors joyously clapping and singing during a version of “Sweet Caroline” is your problem - not theirs. This is a song that excites at a ball park, on a beach and at family gatherings. It’s a contemporary anthem. It certainly is a highlight at a Broadway show celebrating its creator.
That’s the way it goes throughout the night. The music is a celebration of Neil Diamond’s body of work as a songwriter-singer. His music is catchy, exciting and in a class by itself as crowd pleasers. Indeed, if Neil Diamond’s career could be defined by a single quality, it’s his ability to create songs that get exponentially better by the number of people singing them.
Besides “Sweet Caroline” you’ll experience “Cracklin’ Rosie,” “ Song Sung Blue ,” “Cherry, Cherry,” “Kentucky Woman, “America,” “Holly Holy” and another dozen or so that are equally as memorable. But oddly, as vibrant as are most of the songs they are not delivered as exciting production numbers. They are mostly presented in simple concert form.
As a piece of theater the show has the problems of all juke box musicals. The music is great, but the human flaws of the central character are on full display and hardly redeeming. Indeed, it’s possible to leave Proctors thinking less of Neil Diamond the man than when you walked in. His two failed marriages and aloof parenting were clearly choices he made - seemingly willing.
The story is told through a series of sessions with Diamond and his therapist. She reads to him the lyrics from the songs he wrote and it releases a torrent of memories about his fabled career. Strangely, through these meetings a somber, unhappy and, yes, a humorless man emerges as Diamond finds it impossible to enjoy his success.
That success started as a songwriter. His first hit came with “I’m a Believer,” a song he wrote for The Monkees. Its popularity makes him realize he should perform his own songs. Though awkward and shy in public he finds an audience in Greenwich Village coffee houses and in true juke box musical fashion he is soon selling out stadiums throughout the world. However, he’s still searching for artistic fulfillment and a sense of self.
The role of Diamond is played by two actors. Nick Fradiani, an American Idol winner who took over the role on Broadway is very good. He plays what is called “Neil - Then.” He lacks the dominating charisma of a pop music legend, but he effectively captures the voice that sounds like “gravel wrapped in velvet” that gives his songs a sense of being delivered personally to you. His greatest accomplishment is showing the star grow from an insecure individual to a man who loved his public persona.
Having Robert Westenberg play “Neil - Now” brings validity to the claim that the real Neal Diamond changed over the years. It is wise to have the role played with weary regret by a superior actor. Besides having a sincere stage persona, Westenberg brings a rich musical theater career to the role. He has only one number “I Am - He Said,” but with it he elevates a concert-like show to the realm of musical theater.
Bringing touches of humor to the surprisingly dreary story is Kate A. Mulligan as Ellie Greenwich, who was one of the first to recognize Diamond’s talent. Also helpful in keeping Diamond from looking like a complete ingrate is Hannah Jewel-Kohnas as his second wife Marcia. “You Don’t Bring Me Flowers”, a duet with her and Fradiani is one of the most honest and sensitive moments in the show.
The ensemble is small but mighty as the talented group performs many roles and adds the vitality that is mostly missing in the smaller scenes.
If you love the music of Neil Diamond you’ll have a good time at “A Beautiful Noise,” and if not a fan, you’ll still have fun.
It plays at Proctors in Schenectady through Sunday. For tickets and schedule information go to atproctors.org.
Bob Goepfert is theater reviewer for the Troy Record.
The views expressed by commentators are solely those of the authors. They do not necessarily reflect the views of this station or its management.
