ErinMarie Reiter — Theater Critic

What sets this production apart structurally is its intertwining of three timelines, with three pairs of actors portraying Allie and Noah across their lives. As the youngest couple, Chloë Cheers and Kyle Mangold bring an infectious energy to first love. Their chemistry is bright and immediate, filled with the awkward charm and headlong passion of teenage romance. Mangold balances swagger with sincerity, while Cheers delivers standout vocals that grow richer and more confident as the story unfolds.

The plot is gloriously frothy, falling somewhere between Shakespearean fanfiction and a Max Martin greatest-hits concert, but that’s the point, don't analyze it. This show isn’t here to brood; it’s here to bop. Director Luke Sheppard’s production keeps the energy high and the heart beating, letting the songs propel the emotion as much as the story. When Juliet belts “Since U Been Gone,” or Shakespeare and Anne spar through “I Want It That Way,” it’s both hilarious and oddly moving.

The script is loaded with rapid-fire jokes, but the humor always feels sunny. There’s a rhythm to the writing, a trust that the audience can keep up. If you miss one gag, another’s right behind it. In between all the laughs, the story makes room for sincerity about family, trust, and finding your voice.

It hints at deeper themes, such as depression, the price of fame and celebrity, and his upbringing, but the show skips over them as quickly as they emerge. That’s okay, “A Beautiful Noise” knows its audience, and this is a musical made for fans.

The production fills the stage with color and energy, with lovely costumes by Gregg Barnes and both Sweet Sue and Sugar have wonderful looks one after another. Josephine has the more dowdy looks of the two, which provides a nice running gag about the character's age and appearance. Daphne's costumes are lovely and showcase their growing sense of self as they become more comfortable with who they are.

Carolee Carmello leads the show as Kimberly, a girl who not only looks older based on her disease but also has to act as the main grown-up in her family since her dysfunctional parents seem to live in a stunted existence. Dad is an alcoholic, and Mom is a narcissist. Carmello's voice and performance are undeniably strong (she’s a three-time Tony nominee for a reason), and she so thoroughly captures the enthusiasm for the life of a young girl that it is genuinely shocking when she comes out in the second act in an all-to-convincing disguise.

The music by Karey and Wayne Kirkpatrick is big, bright, and bouncy and makes for many fun dance numbers. “Make Me A Woman” is a fun makeover song featuring Daniel’s brother Frank (Aaron Kaburick) and his brother-in-law Andre (Nik Alexander). “Easy Peasy” is when an overly confident Daniel attempts to cook using YouTube cooking videos and still has to order takeout because it’s harder than it looks. Major props to whoever green-lit a tap number about spatchcocking a chicken, and even more than the show describes it and does it correctly.

The show is vibrant, ultra-fantastical, very funny, and musically glorious as a whole. The scenic design by Hannah Beachler works with the digital projections by Daniel Brodi, and the lighting design by Ryan J. O’Gara to create an eye-catching, and vivid place. The costumes by Sharen Davis are equally character-building and striking - Dorthy’s signature pinafore and check are brought fashionably more modern, and each witch is distinct, colorful, and full of personality. The Wiz is beautifully slick, and streamlined as befits his status, but also allows for a quick costume change for a getaway.

The performers are very talented, especially Esler as Lydia, who has a powerful belt and a finely tuned sense of nihilism. Her Lydia is very clear-eyed and articulate - she is the most high-energy, musical theatre version goth kid there could be. This makes sense because you can’t ask anyone to match the unique 80s goth vibe that only Winona Ryder in a Tim Burton movie had at that time; it would be impossible.