Review: A BEAUTIFUL NOISE: THE NEIL DIAMOND MUSICAL at Orpheum Theatre Minneapolis

From the first few bars of “Solitary Man” to the rousing, inevitable chorus of “Sweet Caroline,” A Beautiful Noise: The Neil Diamond Musical delivers exactly what fans of the singer-songwriter came to hear. It’s a glittering jukebox celebration that pulses with energy, nostalgia, and enough sequins to light up the Orpheum Theatre for a week straight. Now in Minneapolis as part of the Broadway on Hennepin season, this touring production brings the music—and much of the heart—of Neil Diamond to life with a capable cast and some impressive design work.

At the center of the show is Nick Fradiani, who plays Neil in his younger, hit-making years. Fradiani, a former American Idol winner, brings a rugged charm and vocal grit to the role. He doesn’t impersonate Diamond, but he channels just enough of his sound and swagger to keep the illusion intact. His renditions of songs like “Cracklin’ Rosie” and “America” are crowd-pleasers, delivered with conviction and a palpable appreciation for the source material.

Opposite him is Robert Westenberg, portraying an older version of Diamond—less the performer, more the man reckoning with his past. Framed through a series of therapy sessions, Westenberg’s scenes provide the dramatic spine of the show. While the device can feel a little stiff at times, Westenberg’s grounded performance gives the story some needed emotional weight. He doesn’t overplay it, but there’s a quiet sadness in his portrayal that helps balance the concert-like energy of the musical numbers.

The supporting cast deserves credit for bringing texture to what could otherwise be a string of loosely connected songs. Hannah Jewel Kohn and Tiffany Tatreau play Diamond’s former wives, and while the script gives them limited space to develop, both bring clarity and presence to their roles. Lisa Reneé Pitts, as the therapist guiding the older Neil through his memories, handles the exposition-heavy role with warmth and restraint.

The real magic of A Beautiful Noise, though, lies in the ensemble work and creative direction. Director Michael Mayer keeps things moving at a brisk pace, blending past and present with sleek transitions and concert-style flourishes. The choreography by Steven Hoggett leans more toward expressive movement than traditional musical theatre dance, which suits the introspective tone of some of the show’s quieter moments.

Visually, the production is slick. David Rockwell’s scenic design manages to shift between intimate interiors and glitzy performance venues without missing a beat. Lighting by Kevin Adams and sound by Jessica Paz help bring the concert atmosphere to life—especially during the second act, when the audience is gently (or not-so-gently) encouraged to sing along. And of course, Emilio Sosa’s costumes bring all the vintage sparkle you'd expect from a Neil Diamond tribute.

That said, the show isn’t without its flaws. Like many jukebox musicals, it occasionally feels like it's checking boxes—hit song here, career milestone there—without diving too deeply into the man behind the music. There are moments where the story gestures at inner conflict or personal struggle but backs away before fully exploring them. The therapy sessions that frame the plot can feel a bit formulaic, and the script sometimes leans too heavily on the lyrics to do the emotional heavy lifting.

Still, for many in the audience, none of that will matter. This is a musical built to celebrate the soundtrack of people’s lives, and on that front, it absolutely delivers. The crowd at the Orpheum clearly came ready to sing, clap, and cheer—and the cast feeds off that energy. By the time “Sweet Caroline” rolls around (and yes, you will be singing “ba ba ba”), the evening has turned into a full-fledged party.

A Beautiful Noise may not reinvent the jukebox musical, but it understands exactly what it is: a tribute to one of pop music’s most enduring voices, told with sincerity, spectacle, and more than a little sparkle. It’s a feel-good evening at the theatre that ends just the way it should—on a high note.