‘A BEAUTIFUL NOISE’: Will Swenson & cast. Photo: Julieta Cervantes.

THE NEIL DIAMOND MUSICAL: A BEAUTIFUL NOISE
Book by Anthony McCarten
Music & lyrics by Neil Diamond
Directed by Michael Mayer
Broadhurst Theatre
235 West 44th Street, (212) 239-6200
https://abeautifulnoisethemusical.com/

By Scott Harrah

A Beautiful Noise is not exactly a Neil Diamond tribute concert or a solid jukebox musical such as MJ, Tina and Jersey Boys—all these shows had great stories to tell and also showcased the music of the artist portrayed. Instead, this show is akin to attending a Neil Diamond psychotherapy session, hearing him complaining to his therapist about his malaise and unhappiness in his old age. This therapy session takes place throughout the musical. For a man who is a world-renowned musical artist, had endless hit songs, fame and adulation, sold-out arenas, became quite wealthy, married three times and has multiple children, the show mostly focuses on the adage that fame and riches do not buy you happiness.

Neil Diamond is an American icon. He has sold more than 130 million records and had 10 #1 hits in the USA alone. Anyone who grew up in the 1970s and early 1980s knows his music was consistently played on the radio. Some say he has sold more records than Elvis. In addition, he got his break writing songs for other people, most notably “I’m a Believer” for the Monkees.

Despite the fact that all his hits are here—“America,” “Cherry, Cherry,” “Cracklin’ Rose,” “Solitary Man” and, of course “Sweet Caroline,” and tons more—there is no arc to the storyline. Neil Diamond was a multi-talented mega star who was essentially a nice Jewish boy from Flatbush, Brooklyn who made it big. Based on this show, he didn’t have any struggles with drugs or alcohol but he suffered from loneliness and had rocky marriages. A Beautiful Noise opens with a therapy session of older  Neil (Marc Jacoby) recalling his youth and start in show business through his songbook, while confessing everything to his understanding therapist (Linda Powell). Other than his three marriages, there is no insight into the man. It doesn’t leave much room for a buoyant musical. Fortunately, Will Swenson brings young rock star Neil Diamond to vivid life and gives a vibrant interpretation of Mr. Diamond in the late 1960s up to the early ’80s. When Mr. Swenson is onstage, sporting tight clothing and singing Diamond classics like “A Solitary Man” and “Brother Love’s Traveling Salvation Show,” complete with dancing chorus members, the show is lively and almost campy and will thrill Neil Diamond fans. Unfortunately, there are not enough production numbers of Diamond’s golden oldies, and many of the songs they do perform aren’t always his best.  The narrative of older Neil talking to his therapist about his past really makes the story drag most of the time.

Michael Mayer’s direction is unfocused, and Anthony McCarten’s book has a paper-thin narrative thread. Steven Hoggett’s choreography is frenetic and energetic at times, but not that original. Some of the performances are noteworthy. Bri Suda does a nice job playing Brill Building songwriter Ellie Greenwich (the woman who gave Mr. Diamond his first break), and she doubles in the role of Neil’s mother, Rose. Mark Jacoby is emotional in the right places as older Neil. The biggest redemption to the show and its greatest asset is Will Swenson as the young Neil Diamond, singing each song in a rough, mellifluous, velvety voice without trying to mimic the star. He brings the charisma, looks, energy and the sound needed to anchor and breathe life into this otherwise inert musical. A good jukebox musical about a legend often weaves cherished classic songs into a strong story that actually gives insight and perspective while showcasing the artist’s material. A Beautiful Noise fails to do much justice to the star as it never quite captures the pop-star magic of Neil Diamond in his heyday or reveals anything remarkable about such a legendary, gifted entertainer.

Edited by Scott Harrah
Published January 21, 2023
Reviewed at January 19, 2023 press performance.

‘A BEAUTIFUL NOISE’: (left to right) Will Swenson, Mark Jacoby & Linda Powell. Photo: Julieta Cervantes.

‘A BEAUTIFUL NOISE’: Will Swenson & cast. Photo: Julieta Cervantes.

‘A BEAUTIFUL NOISE’: Robyn Hurder & Will Swenson. Photo: Julieta Cervantes.

‘A BEAUTIFUL NOISE’: Marc Jacoby. Photo: Julieta Cervantes.

‘A BEAUTIFUL NOISE’ (left to right): Michael McCormick, Tom Alan Robbins, Linda Powell, Marc Jacoby & Will Swenson. Photo: Julieta Cervantes.

‘A BEAUTIFUL NOISE’: Will Swenson & cast. Photo: Julieta Cervantes.

‘A BEAUTIFUL NOISE’: Will Swenson & cast. Photo: Julieta Cervantes.

‘A BEAUTIFUL NOISE’: Robyn Hurder & cast. Photo: Julieta Cervantes.

The post ‘A Beautiful Noise’: Neil Diamond’s jukebox jam appeared first on StageZine.

‘HEAD OVER HEELS’: Taylor Iman Jones & the company. Photo: Joan Marcus

HEAD OVER HEELS
Songs by The Go-Go’s
Based on The Arcadia by Sir Philip Sidney
Conceived & Original Book by Jeff Whitty
Adapted by James Magruder
Music supervision, orchestrations & arrangements by Tom Kitt
Choreographed by Spencer Liff
Directed by Michael Mayer
The Hudson Theatre
141 West 44th Street
(855) 801-5876
www.HeadOverHeelsTheMusical.com

By Scott Harrah

Being an aging Generation X member and a longtime Go-Go’s fan, I was initially thrilled when I heard about Head Over Heels, thinking it would be a fun chronicle of the ups and downs of Belinda Carlisle, Jane Wiedlin, Kathy Valentine and the rest of the L.A. all-female rock group from the 1980s. When I later realized the show is a jukebox musical featuring Go-Go’s music and a story based on Sir Philip Sidney’s obscure Elizabethan story The Arcadia, my expectations were low indeed. A tale set in a mythical land with a royal family facing the threat of its beloved “beat” sounds like an absurd premise for a jukebox musical showcasing the iconic hits of the most successful female rock band ever, but naysayers and skeptics beware: The show grows on you if you simply go along with it and accept it for nothing other than the mindless, splashy entertainment it is.

Brought to us by musical supervisor Tom Kitt, choreographer Spencer Liff, book writer Jeff Whitty and director Michael Mayer–the creative team behind such Broadway blockbusters as Hedwig and the Angry Inch and American Idiot, Spring Awakening and Avenue Q—Head Over Heels is a mixture of a 17^th century romance with gender-bending characters that often speak in Shakespearean iambic pentameter.

The plot revolves around the King of Arcadia, Basilus (Jeremy Kushnier) and Queen Gynecia (Rachel York) reigning over an ancient kingdom, along with their younger daughter Philocea (Alexandra Socha). The younger princess is romantically involved with a shepherd, Musidorus (Andrew Durand). Their older daughter Pamela (Bonnie Milligan) has a secret. The kingdom’s future is threatened when the non-binary Pythio, the Oracle of Delphi (Peppermint), unleashes a prophecy of doom.

Such Go-Go’s classics as “We Got the Beat,” “Vacation,” “Our Lips Are Sealed,” “Turn to You” and “Lust to Love,” along with the Belinda Carlisle solo hits “Mad About You” and “Heaven is a Place on Earth,” are woven into the wacky narrative of changing genders, revolution in the monarchy and sexual discovery.  The story’s humor is sometimes riddled with corny visual puns, such as the choreography for “Mad About You” when dancers are dressed as sheep. Get it? Ewes.

The show is a colorful mess, thanks to winning period costumes by Arianne Phillips and Spencer Liff’s frenetic choreography.

Some of the cast members are also refreshing. Jeremy Kushnier, Andrew Durand and Rachel York give good but mostly serviceable performances, and Peppermint as Pythio primarily serves up the boilerplate camp that made her (or they?) famous on “RuPaul’s Drag Race.” The true standouts here are the winning Bonnie Milligan as Pamela, the brash and zaftig young princess who gets many of the laughs, as well as Taylor Iman Jones as her gal pal Mopsa. Both Ms. Milligan and Ms. Jones are a sheer delight whenever they are onstage.

In comparison to some of the dreadful jukebox musicals recently, from the inane Escape from Margaritaville (featuring Jimmy Buffett songs) to the factually challenged Summer: The Donna Summer Musical, Head Over Heels is a vast improvement for the genre. Perhaps an escapist tale with Go-Go’s songs, full of characters exploring nonconformity and sexual freedom, is exactly the tonic needed in these troubled times.

Edited by Scott Harrah
Published August 3, 2018
Reviewed at August 2, 2018 press performance.

‘HEAD OVER HEELS’: Rachel York & Jeremy Kushnier & the company. Photo: Joan Marcus

‘HEAD OVER HEELS’: Peppermint (center) & the ensemble. Photo: Joan Marcus

‘HEAD OVER HEELS’: Tom Alan Robbins & Jeremy Kushnier. Photo: Joan Marcus

‘HEAD OVER HEELS’: Andrew Durand & Alexandra Socha. Photo: Joan Marcus

‘HEAD OVER HEELS’: The ensemble. Photo: Joan Marcus

‘HEAD OVER HEELS’: The company. Photo: Joan Marcus

The post ‘Head Over Heels’: The Go-Go’s do the time warp appeared first on StageZine.