With the reason only revealed late in the piece, global superstar Neil Diamond is presented as a tortured soul in the superbly written, directed and produced musical A Beautiful Noise. Aggressive and recalcitrant, an older Diamond (played by Terence Crawford) is in therapy, pushed to undertake soul searching by his third wife, Katie.
Incidentally, while no actor plays Katie in the show, to wide applause on opening night, the real Katie flew over from the US and appeared on stage at the curtain call. The story told in the musical, with book by Anthony McCarten and music and lyrics by Diamond, is poignant and powerful.
Diamond is ready to call it quits with the doc (Monica Sayers), when she pulls out a thick songbook containing all of Diamond’s lyrics and asks about the feelings behind them. So it is that Diamond takes a walk down memory lane, recalling the pain, perseverance and heartbreak of a star-studded career. That is also when a younger, nervy Diamond (Will Swenson) – a prolific songwriter from his teen years with that attractive gravel in his voice – enters the frame.
The journey begins with Diamond slaving away in Tin Pan Alley (in New York City) where he has been writing songs trying to replicate The Everly Brothers and Buddy Holly for seven years. Already married to Jaye Posner (Alana Tranter) with a baby on board, he desperately needed a break. That is when a meeting with legendary American record producer Ellie Greenwich (Hannah Fredericksen) changed his fate.
While Diamond started writing hits for other big-name artists, it took Ellie to recognise that with his unique voice, he should become a singer songwriter. Although he was continually plagued by negative thoughts, she got him to play a live gig at a famous small venue called The Bitter End. That was also where he met and fell in love with the woman who would become his second wife, Marcia Murphey (Ashleigh Rubenach).
She encouraged him to step out from behind the dark clouds that enveloped him. Still, candidly, the situation between the two women in his life – Jaye, to whom he was initially married and with whom he had two daughters, and Marcia – was messy. In time, Diamond signed a record contract with a bad crowd that could have ended dreadfully.
Still, he went on to become bigger and bigger, touring the world extensively, working continuously and enjoying the adulation that went with it. That, too, took a toll on his personal life and after 25 years of marriage, he and Marcia, with whom he had two sons, divorced. Diamond felt obliged to keep up the frenetic pace he maintained because while he was making heaps of money, his entourage had grown and grown too.
And then the therapist doubles back to the words of a song that Diamond point blank refused to talk about earlier. It would provide the insight into his upbringing (of Polish and Russian descent, he was born to Jewish parents) and the anxiousness that he had carried with him his entire life. I was greatly moved.
Through it all, the story unfolds with 29 of the great man’s legendary songs, most magnificently performed by Will Swenson, who nails his vocalisation. With his attractive, guttural, baritone voice, Swenson channels Diamond superbly, including transitioning Diamond’s apprehension into confidence, as the narrative develops.
He also benefits from the musical arrangements by Sonny Paladino, expertly realised by musical director Nigel Ubrihien and a nine-piece band, who we see in all their glory in a two-tier setting in Act II. The big hits, including Sweet Caroline, Cracklin’ Rosie, Song Sung Blue, You Don’t Bring Me Flowers, America, Love on the Rocks, Cherry, Cherry and I Am … I Said, are all there. As is mentioned early on in the show, Diamond’s output has been prolific: 39 albums, 120 million album sales and 40 Top 40 hits.
I also appreciated the dynamic between Terence Crawford and Monica Sayers as patient and doctor. As the older Diamond looking back, Crawford shows his emotional range, while as the medico, Sayers pushes Diamond’s buttons with aplomb. Looking radiant, Ashleigh Rubenach shines as importantly influence Marcia Murphey, introducing light and shade into memorable duets and a stirring solo, with back-up singers.
A few early numbers showcase the purity of sound that is evident in Alana Tranter’s vocals as the hapless Jaye Posner, who I couldn’t but help feel very sorry for. I enjoyed the role played by Hannah Fredericksen as the personable Ellie Greenwich. It is quite a contrast to the authoritative Rose Diamond, Neil’s mother, who Fredericksen doubles up as.
Backed by a superb cast and ensemble, Steven Hoggett’s choreography shows a deft touch throughout. As scenic designer, David Rockwell works with vertical batons of colour and industrial style staging after interval. The bold pops of colour introduced by lighting designer Kevin Adams in Act II are a highlight, as is the splendid sound design by Jessica Paz.
Emilio Sosa’s costuming ranges from subdued to glittering and spectacular. Bling still goes a long way and Diamond’s quick-change costuming during the second act is something to behold. Director Michael Mayer has given us a most engaging and memorable production that I really enjoyed, delving into the life and times of one of the world’s greatest singer/songwriters and performers.
Two and a half hours, including interval, A Beautiful Noise: The Neil Diamond Musical is on at Princess Theatre in Melbourne until 25th October, 2026.
Alex First
Other reviews you might enjoy:
- Sunset Boulevard (Princess Theatre) – musical theatre review
- The Book of Mormon, at Princess Theatre and touring – musical theatre review
- Tina: The Tina Turner Musical (Princess Theatre) – musical theatre review
Alex First is the editor of The Blurb. Alex is a Melbourne based journalist and communications specialist. He also contributes to The Blurb on film and theatre.