Broadway Across America 2025-2026 Season Shows Rated
So good! So good!
If you have never shouted those words when Sweet Caroline comes on the playlist at a party, I call you a liar. That song along with Coming to America are iconic in the musical library of Neil Diamond. As Broadway has been prone to do in the past decade, it deemed Neil Diamond worthy of his own bioplay. Along the lines of Jersey Boys it uses Neil’s own words to map out the arc of his musical career. A Beautiful Noise was the opening show of Minneapolis’ Broadway Across America’s season for 2025-2026 and it indicates the caliber of the slate of musicals ahead.
I assumed that the story associated with Neil Diamond would be upbeat with, of course, those complications that drive a plot line. Upon reading the program as I was waiting for the familiar songs to begin, I read the note that was included from Neil himself. He had been integral in the writing of the story, obviously, as a bioplay. What I didn’t remember was that he had been diagnosed with Parkinson’s disease and could no longer perform. His very honest assessment of the soul baring lyrics at the center of the show piqued my interest in the story I obviously didn’t know.
The play is told through the frame story of Neil Diamond being forced by his third wife, Katie, to attend therapy sessions following his diagnoses. The poet and song writer is reticent in his treatment at first. However, the therapist produces a book of his song lyrics and begins to ask about what inspired each of the tunes. Breaking out of his past come the ensemble portraying his career through those very lyrics. I was amazed by some of the titles I had no idea he had written including The Monkee’s I’m a Believer and Red, Red Wine made famous by Bob Marley and UB40. These were songs the therapist knew which led him to open up about his journey from songwriter to performer.
Young Neil, played by Nick Fradiani was spot on. His voice was almost a perfect clone of the original Neil. Forever in Blue Jeans was belted by the actress playing his second wife, Marcia, Hannah Jewel Kohn. She absolutely nailed it.
Secretly, my favorite part of the show was an ensemble member, Nic Vlachos. He wasn’t the smoothest dancer, and I noticed that he wasn’t as precise at synchronicity with the rest of the group in a few dances. However, that guy loved every single second that he was on stage. He could also, obviously, sing. The joy on his face as he performed reflected the joy that Neil Diamond himself was able to bring to audiences worldwide despite his humanity and lives in this show.
Though he cannot perform, he is still bringing joy to audiences worldwide.
How do you take a classical musical and give it a new spin, without ruining the appeal of nostalgia? The current touring rendition did a great job of presenting The Phantom of the Opera in just this way. The team’s creativity shone in the tiny bits of humor sprinkled throughout the dark tale. Part of the key was in the staging of the opera ensemble. They were hilarious in their portrayal of Carlotta and company, exaggerating the chaos that the Phantom piles on the cast as he attempts to control “his” theater to save it from the idiots he feels are running the show. In perfect contrast, the terror was real and felt when the Phantom appeared on stage. The narrative was the clearest I have ever seen it presented on stage making it ideal for newcomers, if there are indeed any. Andrew Lloyd Webber’s score soared among the double chandeliered ceiling of the Orpheum with a minor snag. Isaiah Bailey as the Phantom seemed to struggle in the first act, particularly at the end of "The Music of the Night.” He voice cracked as he reached for the night note at the end. By second act his voice was stronger and presented a solid finish to his portrayal of eponymous Phantom. It was a satisfying rendition of the classic and my sister and I were both amazed with our familiarity with the "The Music of the Night” after years away from listening to and singing the songs ad nauseum, proving that Christine is not the only who can’t remove herself from the grasp of The Phantom of the Opera.
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