Category: Review

@showsiveseen A Beautiful Noise: The #NeilDiamond #Musical national tour at the Paramount Theatre from Seattle Theatre Group and Broadway Seattle. Starring Robert Westenberg and the smooth-voiced American Idol winner @nfradiani Unexpectedly thoughtful exploration of mental health beneath the glittering jukebox exterior. Closes on Sunday! Review: showsiveseen.com/14520 #theatre #musicaltheatre #showsiveseen @Neil Diamond @The Noise ♬ Sweet Caroline – Neil Diamond

Elevator Thoughts (aka Tweet): A Beautiful Noise: The Neil Diamond Musical national tour at the Paramount Theatre from 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.

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.

Like/Comment/Share my Social Media Posts About this Performance:

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Buy a Ticket or Learn More:

• https://abeautifulnoisethemusical.com/
• https://seattle.broadway.com/shows/a-beautiful-noise/
• https://www.stgpresents.org/events/a-beautiful-noise/
• Program

Photos: See production photos below by Jeremy Daniel.

Cast and Production Team: See after photos below.

@showsiveseen @Disney's "The Lion King" #musical at Paramount Theatre from @BwayAmerica & @Seattle Theatre Group. Spectacular synergy between puppetry, costume, & scenic design. Starring Gilbert Domally, Aaron Chao, & Josiah Watson. Performing in Seattle till 1/4/26. Review: showsiveseen.com/14376 Photos: Matthew Murphy, Deen Van Meer, Joan Marcus Director: Julie Taymor Conductor: Karl Shymanovitz Stage Mgr: Charles Underhill Choreo: Garth Fagan #disney #lionKing #theLionKing #theatre ♬ Circle of Life – Ndlovu Youth Choir

Elevator Thoughts (aka Tweet): Happy opening weekend to Disney’s The Lion King musical at Paramount Theatre from Broadway Seattle and Seattle Theatre Group. Spectacular synergy between puppetry, costume, and scenic design. Performing in Seattle till 1/4/26.

Was This the First Time I Attended a Production of this Show? No, I saw the tour the last time it came to Paramount Theatre.

Would I See It Again 3 Years from Now? Probably not, twice is enough for me

Mainstream Appeal: Medium to high

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

My Synopsis (No Spoilers): Inspired by the classic Disney film, the story follows a young lion prince thrust into exile who must find the courage to reclaim his rightful place as the lion king.

Synopsis from the Licensor or Theatre Company: Giraffes strut. Birds swoop. Gazelles leap. The entire Serengeti comes to life as never before. And as the music soars, Pride Rock slowly emerges from the mist. More than 100 million people around the world have experienced the awe-inspiring visual artistry, the unforgettable music, and the uniquely theatrical storytelling of this Broadway spectacular – one of the most breathtaking and beloved productions ever to grace the stage. Winner of six Tony Awards®, including Best Musical, The Lion King brings together one of the most imaginative creative teams on Broadway. Tony Award®-winning director Julie Taymor brings to life a story filled with hope and adventure set against an amazing backdrop of stunning visuals. The Lion King also features the extraordinary work of Tony Award®-winning choreographer Garth Fagan and some of Broadway’s most recognizable music, crafted by Tony Award®-winning artists Elton John and Tim Rice. There is simply nothing else like The Lion King.

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’ll appreciate this more if you saw the movie, but it’s not required.

Defined Plot/Storyline: Yes

Live Band/Orchestra: Yes

Union Actor(s): All

Total Actor(s): Too many to count

Perceived Pace of the Show: Medium speed

Was there an intermission? Yes

Length (Including Any Intermission): 2.5 hours

Other Rave(s)

• Design: The production’s true star was the extensive puppetry, costume, and scenic design by Julie Taymor, Michael Curry, and Richard Hudson. While reminiscent of the intricate style seen in Life of Pi, the puppetry here was even more ambitious. The designers didn’t limit themselves to the iconic animals of the African savanna. Every element, down to the swaying grass, was transformed into a living, moving piece of costume/puppet art. Among the most memorable creations were the tears built into the lioness’s mask and the mesmerizing gazelle hunt, in which the gazelle’s body fractured into multiple body parts.
• “Circle of Life” Bookends: The show opens with a glorious hook in “The Circle of Life” song. The stage (and even the audience lovel itself) was alive with action, offering so much to take in that I found myself with a bit of FOMO torn between multiple points of focus. It was overwhelming in a good way. If you have the chance, sit on the orchestra level. I remember watching from the balcony last time and missing much of this immersive energy from the actors roaming the audience. The opening song built to a triumphant climax. The musical came full “circle” in a bookend, closing with the same piece for a thrilling, satisfying conclusion.
• “He Lives in You”: This song was executed with breathtaking imagination. At first, the staging hinted at Mufasa’s reflection, assimilating gradually like a hidden portrait in an autostereogram optical illusion. The audience sensed it before it suddenly appeared like a revelation. Midway through the number, illuminated faces of the performers materialized as if out of thin air, heightening the sense of revelation. And then, in a final flourish, a burst of vibrantly saturated, rainbow-colored dancers appeared, sharply contrasting the monochromatic palette that had defined the song until that moment.
• “Be Prepared”: Scar’s (Peter Hargrave) rendition of “Be Prepared” was another standout. It was elevated by several sharply conceived staging choices in gleeful villainous theatrical flair. The hyenas swarmed into the audience and their movements eventually snaped into a militaristic choreography that evoked the rigid precision of a North Korean (dare I say Nazi?) army parade. At one point, the number even shifted into a scene with the pulsing energy of a gay nightclub, as sculpted, bare torso-ed hyenas performed a tango-infused sequence. The whole moment brought to mind Matteo Lane’s joke about Disney villains being gay.
• Voices: Gilbert Domally’s adult Simba brought an unexpected burst of energy with his surprisingly high voice in “Hakuna Matata.” He reignited that spark again in “He Lives in You.” It’s a shame Domally didn’t get more opportunities to showcase this vocal flair. But, he and Thembelihle Cele (as Nala) created beautifully sweet harmonies in “Can You Feel the Love Tonight.”
• African Themes: The stage adaptation brought a vibrant African flair that the movie didn’t come close to replicating. It was a refreshing burst of color and energy to Seattle’s typically homogenous scene. I especially loved Rafiki, whose performance (complete with a vividly painted mandrill butt) incorporated African clicking sounds into their speech.

Other Musing(s) and Observation(s)

• Climax: Disney is notorious for being accused of slipping subtle adult references into its family-friendly fare. In this production, Shenzi the hyena (played by Martina Sykes) delivered an unforgettably … enthusiastic reaction (basically an orgasm) to Mufasa’s name. This was definitely not something I saw in the movie. It was weird observing that sitting next to my nephew!

Theatre Company: National Tour from Broadway Across America and Seattle Theatre Group

Venue: Paramount Theatre

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

Price Range: $49-230

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: 12/4/25 to 1/4/26

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.

Like/Comment/Share my Social Media Posts About this Performance:

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Buy a Ticket or Learn More:

• https://lionking.com/tour/
• https://seattle.broadway.com/shows/disneys-the-lion-king/
• https://www.stgpresents.org/events/disneys-the-lion-king/
• Program

Photos: See production photos below by Matthew Murphy, Deen Van Meer, Joan Marcus.

Cast and Production Team: See after photos below.

@showsiveseen 🌽 Robert Horn, Brandy Clark, & Shane McAnally’s #Shucked #musical national tour courtesy of Broadway Seattle & @Seattle Theatre Group. Witty script was a cornucopia of sly clever corny dad jokes. Foot-tapping #country melodies. @Danielle Wade was like a modern-day young Dolly Parton. Hilarious, thought-provoking musings from Mike Nappi. See it before it closes 11/9/25!   Review: showsiveseen.com/14214 Director: Jack O'Brien  Stage Mgr: Alan D Knight Choreo: Sarah O'Gleby  Music Supervision: Jason Howland  Music Director: Nick Williams  #corn #theatre @Shucked Musical ♬ Independently Owned – Alex Newell & Original Broadway Cast of Shucked

Elevator Thoughts (aka Tweet):🌽 Robert Horn, Brandy Clark, & Shane McAnally’s Shucked musical national tour courtesy of Broadway Seattle & Seattle Theatre Group. Witty script was a cornucopia of sly corny clever dad jokes. Foot-tapping country melodies. Danielle Wade was like a modern-day young Dolly Parton. Hilarious, thought-provoking musings from Mike Nappi. See it before it closes 11/9/25! #heartland #midwest #corn

Was This the First Time I Attended a Production of this Show? Yes

Would I See It Again 3 Years from Now? Yes

Mainstream Appeal: Medium to high

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

My Synopsis (No Spoilers): In a small Midwestern town where corn is the lifeblood of the community, the crops begin to mysteriously wither. At the cusp of her wedding, “Maizy” leaves heartland America for the big city in search of a cure for the corn. She pins her hopes on the so-called Tampa “Corn Doctor” to save her hometown.

Synopsis from the Licensor or Theatre Company: Shucked is the Tony Award®–winning musical comedy The Wall Street Journal calls “flat out hilarious!” And nobody knows funny like economists. Featuring a book by Tony Award winner Robert Horn (Tootsie), a score by the Grammy® Award–winning songwriting team of Brandy Clark and Shane McAnally (Kacey Musgraves’ “Follow Your Arrow”), and directed by Tony Award winner Jack O’Brien (Hairspray), this corn-fed, corn-bred American musical is sure to satisfy your appetite for great musical theater.

Type: Musical

World Premiere: No

Several or Few Scenes: Several

Several or Few Settings/Locations: Several

Static (Stationary) or Dynamic Set: Mostly dynamic

Prior Exposure/Knowledge Required: You’ve got to think fast to keep up with the jokes. Those punchlines come quicker than you’d expect!

Defined Plot/Storyline: Yes

Live Band/Orchestra: Yes

Union Actor(s): All

Total Actor(s): 15

Perceived Pace of the Show: Medium to fast speed

Was there an intermission? Yes

Length (Including Any Intermission): 2.5 hours

Other Rave(s)

• Cornucopia of Comedy: I was genuinely blown away by how many sly, blink-and-you’ll-miss-them jokes Robert Horn packed in the script and I completely lost track of the number of laugh-out-loud moments. I haven’t laughed this much at a show in ages. The humor was a smart blend of dad jokes, clever wordplay, “corny” puns, and small-town pearls of wisdom.
  
  Like Clue: Live on Stage!, this production demanded quick thinking. You have to stay sharp to catch every punchline, or risk FOMO when everyone else is cracking up.
  
  In the spirit of all that fast wit, absurdity, and corn, I couldn’t help but think of Titus Andromedon from Unbreakable Kimmy Schmidt. It was theatrical, self-aware, and just the right amount of ridiculous.
  Uks Unbreakable Kimmy Schmidt GIFfrom Uks GIFs
• Peanut: One of the funniest characters was Peanut (played by Mike Nappi), the small-town idiot savant. His running gag was prefacing his offbeat musings with “I think.” They never failed to elicit a laugh. And they always made you go, “hmmm.” A seemingly simple-minded character beginning a statement with “I think” only added to the irony. My personal favorite insight from this simpleton was “I think if a movie is based on a true story, it’s probably true, just with ugly people.”
• Danielle Wade: Danielle Wade, who portrayed the female lead Maizy, delivered a performance marked by a beautifully distinctive voice. Her singing and speaking carried the charm and vivacity of a contemporary Dolly Parton, effortlessly blending youthful energy with a timeless, melodic country warmth.
• Music: The music by Brandy Clark and Shane McAnally leaned a bit on the formulaic Broadway side. But honestly, that’s exactly how I like my musicals: light, catchy, and mainstream. It exuded a foot-tapping country flair so infectious that I could literally feel someone next to me tapping along. With Reba McEntire serving as co-producer and the musical’s “Official Stalksperson,” that down-home, approachable energy makes perfect sense.
  
  “Independently Owned,” performed by Lulu (played by Miki Abraham), was a standout number, echoing the same confident, feminist “take me as I am” attitude as Hairspray’s “Big Blonde and Beautiful.” Meanwhile, the elevator-style background music during the montage with Gordy (Quinn VanAntwerp) and Maizy in Tampa surprisingly worked well. That kind of understated, almost banal style is rarely heard in musicals, which made it feel unexpectedly refreshing.
• Narrators: The narrator duo evoked the dynamic of Janis (albeit kinder) and Damien from the Mean Girls musical with Joe Moeller as the semi-flamboyant gay Storyteller 2 and Maya Lagerstam, his “hag” best friend Storyteller 1. I don’t often comment on inclusive casting, but this production made a thoughtful, meaningful choice by casting BIPOC actors as Storyteller 1 and their family member. It’s a refreshing reminder that not every story in the rural country should be told as all-white.
• Nick Bailey: Nick Bailey was perfectly cast as Beau, the quintessential handsome all-American, corn-fed, small-town country boy. He shined in his plaintive ballads “Somebody Will” and “Ok” while delivering a masculine rustic voice rarely heard in musical theatre.

Other Musing(s) and Observation(s)

• Country Folk: The production portrayed entertaining boisterous caricatures of backwoods hillbillies complete with a small-town methhead, corn spirit moonshine, trailer-trash, and a distinctly conservative bend. God, country, and Trump, y’all! There was even a line “In Cob County, people think ‘Roe vs. Wade’ is a debate about the best way to cross a river.” It’s easy to feel superior and almost verges on punching down when watching this show in an educated wealthy liberal city like Seattle. I wonder how audiences in more rural, Americana communities might receive this show though.

Theatre Company: National Tour Courtesy of Broadway Across America and Seattle Theatre Group

Venue: Paramount Theatre

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

Price Range: $43-166

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: November 4 – 9, 2025

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.

Like/Comment/Share my Social Media Posts About this Performance:

• Instagram
• TikTok
• Facebook
• YouTube
• Bluesky

Buy a Ticket or Learn More:

• https://shuckedmusical.com/
• https://seattle.broadway.com/shows/shucked/
• https://www.stgpresents.org/events/shucked/
• Program

Photos: See production photos below by Matthew Murphy and Evan Zimmerman.

Cast and Production Team: See after photos below.