A Beautiful Noise: The Niel Diamond Musical – Review – Paramount Theatre – Shows I've Seen

Elevator Thoughts (aka Tweet): A Beautiful Noise: The Neil Diamond Musical national tour at the Paramount Theatre by Seattle Theatre Group and Broadway Seattle. Starring Robert Westenberg and the smooth-voiced American Idol winner Nick Fradiani. Unexpectedly thoughtful exploration of mental health beneath the glittering jukebox exterior.

Recommendation:
See it if you’re a fan Neil Diamond’s music or if you’re okay with jukebox musicals.

Was This the First Time I Attended a Production of this Show? No

Would I See It Again 3 Years from Now? Hard pass

Mainstream Appeal: Medium

If A Random Stranger Asked What Show They Should See This Weekend, Would I Mention This Production? Maybe

My Synopsis (No Spoilers): Neil Diamond reflects on his life and career as he revisits his discography alongside his therapist.

Synopsis from the Licensor or Theatre Company: The untold true story of a Brooklyn kid who became a chart-busting, show-stopping, award-winning American icon. Created in collaboration with Neil Diamond himself, A Beautiful Noise is the uplifting true story of how a kid from Brooklyn became a chart-busting, show-stopping American rock icon. With 120 million albums sold, a catalogue of classics like “America,” “Forever in Blue Jeans,” and “Sweet Caroline,” an induction into the Songwriters and Rock and Roll Halls of Fame, a Grammy® Lifetime Achievement Award, and sold-out concerts around the world that made him bigger than Elvis, Neil Diamond’s story was made to shine on Broadway – and head out on the road across America. Like Jersey Boys and Beautiful: The Carole King Musical before it, A Beautiful Noise: The Neil Diamond Musical is an inspiring, exhilarating, energy-filled musical memoir, that tells the untold true story of how America’s greatest hitmaker became a star, set to the songs that defined his career.

Type: Musical

World Premiere: No

Several or Few Scenes: Several

Several or Few Settings/Locations: Several

Static (Stationary) or Dynamic Set: Dynamic

Prior Exposure/Knowledge Required: You need to be familiar with Niel Diamond’s hits to enjoy this musical.

Defined Plot/Storyline: Mostly yes. It was biographical format with less of a classic plot structure.

Live Band/Orchestra: Yes

Union Actor(s): All

Total Actor(s): Too many to count

Perceived Pace of the Show: Slow to medium speed

Was there an intermission? Yes

Length (Including Any Intermission): 2.5 hours

Other Rave(s)

Nick Fradiani Vocals: Nick Fradiani’s voice as a young Neil Diamond was downright sexy. His raspy voice radiated a smoldering charm. As the script put it, his tone was “gravel wrapped in velvet, like it just woke up and tripped over an ashtray.” He perfectly encapsulated the hot brooding, heartthrob archetype.
Mental Illness: The script unexpectedly delved into themes of mental illness. I’d expect this from Dear Evan Hansen, not a jukebox musical! Tackling universal feelings of depression, anxiety, loneliness, and fear resonates well with Seattle audiences. The inclusion of imaginary friends added a tender layer. The wolf analogy was striking: “Everyone has two wolves fighting inside of them… one wolf is happy… the other wolf, angry, sad… So which one wins?” … “The one we feed.”
Shilo: On the topic of imaginary friends, Spencer Donovan Jones from the ensemble delivered a stunning rendition of “Shilo,” accompanying himself on guitar with a performance that brought to mind the heartfelt style of Gabe Bondoc.
Scenic Design and Band: During intermission, an audience member complained about the austerity and visual darkness of the first act’s set. In response, the second act ramped up the glitz and glamour, particularly when the band was occasionally revealed under flashy lights (Kevin Adams lighting designer) and a saturated, alternating-color backdrop (David Rockwell scenic designer) that evoked the iconic Apple iPod commercials of the 2000s. One especially ostentatious number left my ears ringing. I briefly feared I had developed tinnitus, only to realize the piercing high-pitched sound was coming from the theater’s sound system!

Rant(s)

Jukebox Musical: I’m not well-versed in Neil Diamond’s catalog. But honestly, the material felt too tepid to be worthy of a musical. Blasphemy, I know. When will someone make a Lady Gaga musical? This show fell prey to textbook jukebox musical pitfalls. It was a relentless parade of songs stitched together with a story that often felt forced.
Sluggish Disconnect: The therapy scenes, which framed the show’s narration, moved at a glacial pace. After a promising 30 second opening, the next scene (which was a long therapy session) immediately doused the momentum. And the frog/king analogy therapy exercise with musical chairs fell flat. I frequently found myself growing restless, praying for the show to end. Perhaps familiarity with the songs would have made the experience more engaging. The show felt tailored to an older, more traditional audience. It was definitely a reflection of Seattle’s theater scene. The absence of projected lyrics for audience sing-alongs made it clear this show was aimed at a very specific audience … and not anyone else! As a BiPOC who is on the younger spectrum of theatergoers, I could not relate.

Other Musing(s) and Observation(s)

Narrative Gap: The script never explained why Neil Diamond stopped performing. If that ambiguity was intentional, it unnecessarily left the non-target audience wondering.

Theatre Company: National tour brought by Seattle Theatre Group and Broadway Across America

Venue: Paramount Theatre

Venue Physical Address: 911 Pine Street, Seattle, WA 98101

Price Range: $55-210

Ticket Affordability Options: Seattle Theatre Group might partner with an organization you’re affiliated with for discount tickets. For example, I believe UW employees/students are still eligible for an organization discount.

Dates: January 13 – 18, 2026

Seating: Assigned Seating

Parking: Paid street parking and paid garage parking. The best parking garage is under the convention center w/ the entrance on Pike around the Pike and Terry intersection. Last I checked, this is one of the cheapest, least busy, and closest garages. Alternatively, you can probably find street parking as you move closer to the West Precinct (810 Virginia St, Seattle, WA 98101). Do NOT park where the Paramount subscribers park. Last I checked, they usually park in the garage attached to the former Cheesecake Factory. It’ll take you at least 30 minutes to exit that garage after the show.

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Photos: See production photos below by Jeremy Daniel.

Cast and Production Team: See after photos below.