‘A Beautiful Noise’ launches tour at PPAC 

PROVIDENCE – “Jersey Boys,” the musical about the life and times of the members of The Four Seasons,” begins and ends with the titular characters singing chart toppers “Oh What a Night” and “Who Loves You,” respectively.  In between those tunes, the soundtrack of our lives traces the personal journeys of the artists who created it.  “Beautiful” does the same – most biographical jukebox musicals do – with the actor portraying singer/songwriter Carole King sitting at the piano performing her hit “So Far Away” to open the show and “I Feel The Earth Move” to close it.  

“A Beautiful Noise” – written by Anthony McCarten with music and lyrics by Neil Diamond – begins and ends with Neil in psychotherapy.

These are appropriate bookend moments considering that the world-famous singer/songwriter and subject of this musical memoir lived life battling depression and, more recently, has had Parkinson’s disease terminate what remained of his touring career. “Song Sung Blue,” we learn during the exchanges between a reluctant older Neil (Robert Westenberg) and his therapist (Lisa Renee Pitts), is more than just a catchy title for one of his 40 Top-40 hits; it’s a reflection of the dark clouds that have long impacted all of his music.

Placing mental health issues at the forefront of a musical is admirable. But unlike “Dear Evan Hansen,” “Next to Normal” and “Jagged Little Pill,” where the main characters’ demons drive the drama and hard-rocking soundtrack, not many of the vague insights into Neil’s state of mind (he is sad most of the time) or personal history (he comes from loving, Jewish immigrant stock) translate into riveting theater. Neither does having two actors sitting in overstuffed chairs for the entirety of the production, despite the best efforts of director Michael Mayer.

But it does turn this musical into a memory play, which gives designers David Rockwell (scenic) and Kevin Adams (lighting) plenty of creative license, much of which is squandered in minimalistic and monotonous stagecraft intended to create the impression of past places traveled by a young Neil Diamond (Nick Fradiani). To facilitate the telling of his story and bring energy to the storytelling, the show’s creators have a 10-member Greek chorus (Cooper Clack, Chris Marsh Clark, Deirdre Dunkin, Ginger Hurley, Spencer Donavan Jones, Ellen McGihon, Thabitha Moruthane, Tasheim Ramsey Pack, Jeilani Rhone-Collins and J’Kobe Wallace) emerge from Neil’s mind mid-therapy session to whisper lyrics in his ear, fill the air with haunting a cappella harmonies and appear as backup singers and dancers during the show’s many production numbers.

It is these musical numbers that are the show’s salvation. Fradiani, an “American Idol” winner who performed in the second year of the Broadway production of “A Beautiful Noise,” does a terrific job replicating younger Neil’s signature style and defining “gravel wrapped in velvet” vocal quality and selling the pieces and parts of 29 select songs from the artist’s 32 studio albums. Sharing the load is Tiffany Tatreau as Neil’s first wife Jaye, who performs a touching rendition of “Love on the Rocks” during the dissolution of their marriage, and Hannah Jewel Kohn – a true triple threat – as second wife Marcia. Her brief performance of “Forever in Blue Jeans” and her half of the duet “You Don’t Bring Me Flowers” are highlights. So is everything Kate Mulligan does as music producer Ellie Greenwich.

Members of the Greek chorus are also terrific performers, though their flash frozen smiles, matching wardrobe (designed by Emilio Sosa) and inane “American Bandstand”-inspired choreography (designed by Steven Hoggett) suggest a revival of Up With People.

It doesn’t take long – 40 minutes, in fact – for this musical to become what it really wants to be and what most folks in attendance (though not me) desire most: a sing-along. Without warning or provocation, the house lights come up and Fradiani nods in approval as patrons belt out the lyrics to many of the songs being performed. Just before intermission, PPAC becomes the eighth inning at Fenway Park as “Sweet Caroline” is performed by Fradiani, the ensemble and the audience. For the opening and closing of Act 2, the show’s wonderful nine-piece orchestra, under James Olmstead’s baton, appears on stage and the play becomes a sequin saturated tribute concert.

Patrons who are not Neil Diamond fanatics will likely be swept up in the energy and marvel at the poetry that fills his songbook when not distracted by the play’s lackluster narrative. But “A Beautiful Noise” is really for everyone else – those who contributed to the 130 million records sold worldwide – who will be well entertained for much of the two hours and 15 minutes and a little hoarse afterward.

BOB ABELMAN  is an award-winning theater critic who formerly wrote for the Austin Chronicle and Cleveland Jewish News.