Melbourne’s Princess Theatre currently stages 'A Beautiful Noise: The Neil Diamond Musical,' a production the Guardian review says 'doesn’t bring much innovation' and 'never quite escapes the creep of hagiography that haunts the form.' This uncritical approach to narrative, prioritizing celebrity over complexity, reflects a broader cultural landscape that often avoids confronting uncomfortable truths.
The Mechanics of Escapism
The review notes that jukebox musicals are often 'compromised' before audiences even enter the theatre. Producers, it says, desire a 'clean, uplifting version of a life' that 'augments rather than complicates an artist’s reputation.' 'A Beautiful Noise' attempts 'something more ambitious and considered,' but doesn’t fully avoid these inherent traps. The show opens in a dour mood, with 85-year-old Diamond, played by Terence Crawford, moping to a therapist, Monica Sayers, about 'the clouds' that gather over his thoughts. The therapist pulls out a book of his complete lyrics, suggesting they mine the material for insight. Songs then literally pour out in the form of a chorus emerging from the back of his armchair. The review calls this a 'sweetly daggy but moving moment,' suggesting Diamond’s songs might fit musical theatre nicely.
Manufactured Narratives
Book writer Anthony McCarten builds the entire show around this therapist framing device. However, the review criticizes Diamond and the doctor for 'haunt[ing] the edges of each scene,' 'commenting pointlessly from the side,' and 'repeatedly re-establishing the moping.' The second act, in particular, 'begins to feel like an actual therapy session.' McCarten, the review states, 'mistakes self-indulgence for self-reflection' and hopes 'poorly placed flakes of exposition will substitute for emotional honesty.' This narrative structure prioritizes a singular, uncritical perspective, failing to delve into deeper societal or personal complexities.
The Performance of Distraction
Broadway star Will Swenson, who originated the part, is praised for bringing 'swagger, charm and expansive showmanship' that makes the material’s flaws 'disappear whenever he starts to sing.' His voice ranges effortlessly over Diamond’s songs, from the 'easy sensuality of Cherry, Cherry' to the 'lip-curling contempt of Solitary Man.' Diamond’s timbre and inflection are 'precisely and confidently realised,' yet Swenson’s own warmth of tone comes through, making it feel less like mimicry. Despite this powerful performance, the review points out an 'undeniable solipsism' in the show. Most other characters feel 'superfluous or ornamental.' Diamond’s first wife Jaye, played by Alana Tranter, is depicted as a 'dowdy housewife and easily dispatched.' Second wife Marcia, played by Ashleigh Rubenach, fares better but is largely left 'holding a long-distance phone and pleading for her husband’s return.' Music producer Ellie Greenwich, played by Hannah Fredericksen, and club owner Fred Weintraub, played by Tim Wright, are there to 'throw out affirmations and encouragement.'
The Illusion of Catharsis
Director Michael Mayer injects 'huge amounts of energy and verve' into proceedings, though he leans on 'familiar tropes and frayed dramatic beats.' David Rockwell’s scenic design is 'unfussy and effective,' Kevin Adams’ lighting 'fleshy and flash,' and Emilio Sosa’s costumes 'neatly evoke the era.' Stephen Hoggett’s choreography is 'hammy,' though the cast throws themselves into it enthusiastically. Many of Diamond’s songs are used cleverly, their inherent drama repurposed as emotional crises. 'Play Me' becomes a lush love song for Marcia and Diamond, 'You Don’t Send Me Flowers' works as their break-up song. 'Sweet Caroline' and 'Holly Holy' are rousing conclusions to each act, and 'I Am … I Said' becomes a moment of catharsis for the contemporary Diamond. The reviewer suggests 'Morningside,' about loneliness, ageing, and the legacy of children and art, would have made more thematic sense. The production is scheduled to run at Melbourne’s Princess Theatre until October, then moves to Lyric Theatre Sydney from November.