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The Smash-hit Broadway Musical A Beautiful Noise: The Neil Diamond Musical Is Coming To Sydney

18/05/2026 Breaking News

Feature-A BEAUTIFUL NOISE: THE NEIL DIAMOND MUSICAL

Producers Paul Dainty and TEG Dainty, Ken Davenport and Bob Gaudio are thrilled to announce following its highly anticipated Australian premiere in Melbourne in August 2026, the internationally acclaimed production A BEAUTIFUL NOISE: THE NEIL DIAMOND MUSICAL will play a strictly limited season at The Sydney Lyric from November 2026.

Tickets for A BEAUTIFUL NOISE: THE NEIL DIAMOND MUSICAL in Sydney will be released first to waitlist members with an exclusive pre-sale commencing Tuesday 9 June, ahead of the general public on sale from Monday 15 June. Join the waitlist here www.theneildiamondmusical.com.au for tickets.

Created in collaboration with Neil Diamond himself, A BEAUTIFUL NOISE is the uplifting true story of how a kid from Brooklyn became a chartbusting, show-stopping American rock icon. With 140 million albums sold, a catalogue of classics like “Cracklin’ Rosie”, “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 the world.

Like Jersey Boys and Beautiful: The Carole King Musical, A BEAUTIFUL NOISE is a deeply personal and electrifying theatrical experience, charting Neil Diamond’s rise to superstardom through the songs that defined his life and career.

Neil Diamond’s connection with Australia spans nearly half a century of music and memories. He has toured here seven times with promoter Paul Dainty AO, from the landmark Thank You Australia tour in 1976 through to 2015, with his music resonating deeply with audiences. His iconic 1972 live album Hot August Night spent 29 weeks at number one and 65 weeks on the chart, making it the third-longest-charting album of its era in Australian music history.

“Some of my most thrilling nights have been while sharing my music with audiences around the world,” said Neil Diamond. “A BEAUTIFUL NOISE has already had an incredible journey on Broadway and is currently touring across the U.S. and it’s an incredible honour to see it heading to Melbourne and Sydney. I hope Australian audiences enjoy the show as much as I have.”

Producer Paul Dainty AO said: “Sydney has always had a deep connection with Neil Diamond’s music, and I’m delighted that audiences there will experience this extraordinary production following its Melbourne premiere. There has already been remarkable demand in Melbourne ahead of opening, which speaks to the enduring place Neil’s music holds in the hearts of Australians. This musical is a powerful celebration of his life and legacy, filled with the songs that have meant so much to generations. It’s an honour to bring this story to the Sydney stage.”

Producer Ken Davenport said: “A BEAUTIFUL NOISE has connected with audiences around the world because it’s more than a musical — it’s a deeply human story told through one of the greatest songbook of all time. We’ve been thrilled by the extraordinary response already building in Melbourne, and we’re excited to bring that same energy to Sydney audiences later this year.”

The Australian cast of A BEAUTIFUL NOISE is led by Broadway star Will Swenson in the titular role Neil Diamond – Then, bringing his acclaimed, award-winning performance to Australia for the very first time.

Joining Swenson is an exceptional company of Australian talent, featuring principal cast members Terence Crawford (Neil Diamond – Now), Ashleigh Rubenach (Marcia Murphey), Monica Sayers (Doctor), Alana Tranter (Jaye Posner), Tim Wright (Fred Weintraub / Tommy O’Rourke), Paul Hanlon (Bert Berns / Kieve Diamond), Hannah Fredericksen (Ellie Greenwich / Rose Diamond), with Rob Mallett (Standby Neil Diamond – Then), and Mark Owen Taylor (Standby Neil Diamond – Now, Fred Weintraub / Tommy O’Rourke, Bert Berns / Kieve Diamond).

Rounding out the company as “The Beautiful Noise” ensemble are Katrina Bickerton, Cameron Davey, Paul Leandre Escorrido, Matt Hourigan, Alana Iannace, Jerome Javier (Swing) Joshua Kobeck, Etuate Lutui (Shilo soloist), Anna Mallows (Swing), Jordan Malone, James Maxfield (Swing), Isabella Roberts, Sophie Tzioumis, Emma Wilby (Swing), and Erica Wild (Swing).

A BEAUTIFUL NOISE: THE NEIL DIAMOND MUSICAL is directed by Tony Award® winner Michael Mayer (Chess, Spring Awakening, Hedwig and the Angry Inch), choreographed by Olivier Award winner Steven Hoggett (Once, Harry Potter and the Cursed Child), and written by four-time Academy Award nominee Anthony McCarten (Bohemian Rhapsody, The Two Popes). The design team for A BEAUTIFUL NOISE features Tony Award winner David Rockwell (Scenic Design), Tony Award nominee Emilio Sosa (Costume Design), four-time Tony Award winner Kevin Adams (Lighting Design), Tony Award winner Jessica Paz (Sound Design), and Luc Verschueren (Hair, Wig and Make Up Design). The production has Music Supervision and Arrangements by Sonny Paladino, Incidental Music and Dance Music Arrangements by Brian Usifer, Vocal Design by AnnMarie Milazzo, and Orchestrations by Bob Gaudio, Sonny Paladino, and Brian Usifer.

A BEAUTIFUL NOISE: THE NEIL DIAMOND MUSICAL
Melbourne – The Princess Theatre, Previews commence on Wednesday 5 August, 2026.
Sydney – The Sydney Lyric, Previews commence on Saturday 14 November, 2026

For Ticketing information visit www.theneildiamondmusical.com.au

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Red Sky Morning

13/05/202613/05/2026 Jenni Peters🥉

Red Sky Morning Rating

★★★★★

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Tom Holloway’s award-winning play, Red Sky Morning, has returned to Melbourne at TheatreWorks, St Kilda, having been developed originally through Red Stitch’s INK program. (The play premiered at Red Stitch Actors’ Theatre in 2008.) Holloway is internationally acclaimed and this iteration certainly shows us why.

We are introduced to a family of three, who, even living together, exist without connection and within the loneliness of the outback. It’s no accident our characters are nameless because to me, they could be, or could have been, any one of us at any time, floating in limbo in those awful moments where so much is felt and nothing is said.

Over the course of one day, M, W and G’s stories unfold in a series of poetic, interwoven monologues that reveal love, regret, insecurity, addiction, shame, dependence, doubt, destitution, devotion, hopelessness and then, sometimes humour in the embarrassing little moments.

Performed superbly by Alpha Kargbo as “M, mid 40’s male”, Emma Choy as “W, mid 40‘s female” and Izabella Day as “G, late teens girl”, their individual scripts intertwine while rolling seamlessly, despite their characters’ lack of connection in this story. In fact, the three performed as one entity, each of them having had to learn all three scripts to achieve this and they delivered each of their roles with such precision. A technically challenging feat, brilliant and fascinating to watch. This result can only have been achieved by a trio who truly trust and believe in each other at all times.

Directed by Lyall Brooks, four-time Green Room Award Winner across mainstage, independent and musical theatre and assisted by Seon Williams, this 60-minute play seemed to me to be more like 30-minutes. Izabella Day said Lyall was a wonderful leader in this process, trusting his actors and giving thoughtful, insightful direction that continually strengthened their work. The flyer told us, “Directed by Lyall Brooks, RED SKY MORNING is a hauntingly beautiful Australian story that will stay with you; because it feels like home.” I certainly related to a couple of moments that felt like ‘home’ to me years ago.

Lighting Designer, Sidney Younger; Sound Designer, Jack Burmeister; Set Designer, Harry Gill; and Stage Manager, Jade Hibbert, have also excelled in their field, supporting the actors beautifully in this process.

In 2026, most of us are wiser to issues of mental health or an understanding of self-doubt, so I believe this piece is now easier to digest and even more important than it would have been in 2008.

I liked the ending, albeit a subtle hint well-placed within a couple of words, that left hope for the future of M, W and G.
Like the joy of seeing a pink, orange or red sky we know we are lucky to glimpse any rare morning, this play reminds us we must embrace the will to survive and move onwards and upwards – despite any feelings of despair or doubt.

Book tickets via Theatreworks.
Playing 6 – 16th May.
Then touring Victoria after its Theatreworks season:

Tuesday, 26 May – Portland Arts Centre – https://www.portlandartscentre.com.au/Whats-On/Red-Sky-Morning

Wednesday, 27 May – Hamilton Performing Arts Centre –
https://tickets.hamiltonpac.com.au/event/1004:780/1004:982/

Thursday, 28 May – Lighthouse Theatre Warrnambool –
https://www.lighthousetheatre.com.au/red-sky-morning

Friday, 29 May – Corangamite Theatre Royal Camperdown –
https://www.corangamite.vic.gov.au/Places-and-Events/Events-and-Festivals/Events-Calendar/RedSkyMorning

Saturday, 30 May – Bellarine Arts Centre –
https://app.geelongcity.vic.gov.au/bellarineartscentre/calendar/item/8de59cbde2db2f9.aspx

To book tickets to Red Sky Morning, please visit https://www.theatreworks.org.au/2026/red-sky-morning.

Photographer: Sarah Clarke

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All Bull

08/05/2026 Bronte Lemaire

All Bull Rating

★★★★★

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All Bull, written and directed by Walt Dyson, follows a group of five salesmen as they travel from pub to work to pub to work and spot a bull stampeding down the street. As the play progresses, employees Ben (Lousie Jameson) and John (Ashlynn Parigi) attempt to raise the alarm as the group and the rest of the city are turned one by one into bulls.

The show is a bit unpolished in a few ways, firstly its tone/style has difficulty finding a home. Joe and Jeff who were played by Emily Farrell and Emily Jenkins respectively, were written almost solely comedically, allowing the actors to lean into the ridiculousness of their characters. Farrell and Jenkins’ clowning energy were fantastic to watch and were real comedic highlights of the show. In comparison, Jameson’s Ben and Parigi’s John were more grounded. Their embodiments created men the audience felt they knew. However this does highlight that the play is unsure whether to commit to realism or camp, and therefore often lands awkwardly in between. There were more camp moments near the start, particularly when first spotting the bull, that I wish had been peppered more throughout.

The sound and composition by Junaid Eastman is a stand out production element. Transitioning from cow bells to clinking glasses, Eastman creates an unnerving environment from when the audience first enters and plays off the tonal layers throughout the show.

While I was particularly excited to see where the bull transformations fit in the themes, the allegory is a bit half baked and attempts to stretch without material to cling onto. The script attempts to make it explicit, spoonfeeding the audience direct lines about what it’s meant to mean, e.g. “bulls will be bulls,” while the allegory itself becomes inconsistent. The reasoning for why some of the men turn into bulls or are drawn to its appeal is underdeveloped. Additionally, the choice of making dangerous men monstrous and unintelligent is already a delicate game.

Though I give credit to the fact the script was attempting to branch out from sexual violence and misogyny – as many productions critiquing masculinity have focused their attention – it ends up being a vague what is being critiqued. It leans towards talking about male alcoholism, but we don’t see it actually cause many problems. In the director’s note Dyson references “drunken acts” he had witnessed, but few happen during the show, including none from Ben who is meant to be the raging alcoholic. It ends up not feeling grounded in these real world issues it’s alluding to, saying “drinking makes men act badly” without proving its claim or asking why. I think there is something in the cracks about how capitalism nurtures toxic masculinity, but it doesn’t develop far.

The show’s strongest moments were in the choreographed movement sequences and leaning into the physicalisation and aggression of the bulls. Faun Xe and Eden Bren were standouts in their bullish masculinity, even when doing a set transition the energy was palpable with clear hierarchical lines drawn. The staging did however at times feel static and awkward, often drawing my eye away from the main conversations.

All Bull attempts to examine Australian drinking culture, toxic masculinity and at times the manosphere, but ends up unsure in its thesis. I think with some more development and a confident through thread, this show could truly be something special. In a current climate where there is by no means a lack of theatre about masculinity, Dyson needs to be specific with what he actually wants to talk about.

To book tickets to All Bull, please visit https://www.eventbrite.com.au/e/all-bull-a-play-in-one-act-tickets-1984172243593.

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A Celebration Of All Things Sparkling!

06/05/2026 Jenni Peters🥉

The Bubbles Festival 2026 Rating

★★★★★

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The Bubbles Festival Melbourne: A celebration of all things sparkling!

Natalie Pickett founded The Bubbles Review 10 years ago, when her first blog educated those who thought Moet was spoken like the end of the word, “ballet”, with a silent T, when really, it’s pronounced “Mo-wett.” Natalie should know. When working as a tour guide in Europe, on a guided trip to Moët et Chandon, she confirmed this exact fact.

Natalie’s ‘Bubbles Reviewers’ Club’ offers members monthly rewards, tasting technique masterclasses and more discoveries and invitations via www.thebubblesreview.com

I met some of her club members on Saturday, 2nd May, for Bubbles Festival Melbourne, at River’s Edge Events in the World Trades Centre – in a room with a stunning view of the Skyline Wheel and Polly Woodside. Holding our complimentary Riedel sparkling glasses (included in our tickets), we were all thirsty to begin when Natalie welcomed our group and spoke about some important terms to remember before sampling the bubbles on offer. She reminded everyone to hold their glass by the stem, as best to view the bubbles in the middle. We were advised to enjoy the experience of each sparkling with each of our five senses; even holding the glass to our ears – as though listening to a seashell on the beach – and to take in the scent with our noses, as far as they’ll go into the glass before tasting.

“Bubbles – Just like a hug in a glass” and “ABC = Always Bring Champagne” slogans called to us from TV screens around the room. After this, we would visit all the Exhibitor tables to indulge in the exquisite selection.

In between tastings, we were served trays of various Canapés – including Truffle and Mushroom Arancini. We also indulged in a succulent seafood station and a cheese station – perfect bubbly food companions.

Ian was the friendly host from Clover Hill. He poured my first tasting with CLOVER HILL TASMANIA EXCEPTIONELLE MULTI-VINTAGE, (59% Chardonnay, 35% Pinot Noir, 6% Pinot Meunier) – a light straw/green hue in the glass, vibrant citrus and stone fruits on the nose and crisp acidity on the palette.

My second tasting was the CLOVER HILL TASMANIA ROSÉ MULTI-VINTAGE (66% Chardonnay, 29% Pinot Noir, 5% Pinot Meunier) with fresh vibrant strawberry notes upfront on the nose. The palate was layered and creamy with red forest fruits, to a balanced, long finish. This one was sweeter than the first and a little too perfumed for my taste – still a lovely sparkling.

My third taste was the CLOVER HILL BLANC DE BLANCS MULTI-VINTAGE – Tasmania with 100% Chardonnay. This one reminded me a tad of the lovely Billiecart-Salmon Blanc de Blancs Grand Cru NV from France. It too, is characterized by aromas of citrus, white peach, and brioche with a creamy texture.

Tasmanian cool-climate sparkling wines are dominating at the moment, having taken out all the trophies at the 2025 Australian Sparkling Wine Show and Clover Hill is no exception, having been recognised by The Real Review as one of the best producers in the country. They are consistently ranked among Australia’s top producers with a 5-star Halliday rating.

Ian had a fourth offer in CLOVER HILL ROSÉ D’ASSEMBLAGE MULTI-VINTAGE (63% Chardonnay, 29% Pinot Noir, 8% Pinot Meunier), which I didn’t get to sample as I felt drawn to the French table while there was a lull in the crowd.

I met Jean Paul at the Philippe Fourrier table for a quick chat. Since 1847, this family Champagne house located in Baroville, is anchored in an exceptional terroir, the Côte des Bar, in the south of Champagne appellation area.

JP’s first French pour was the CHAMPAGNE PHILIPPE FOURRIER – ROSÉ DE SAIGNÉE (NV) (90% Pinot Noir, 10% Chardonnay) with a light red to deep rosé hue and orange reflections, its fine and persistent bubbles adding elegance in the glass. The nose opened with ripe raspberry and fresh red berry aromas.

JP’s second French pour was LOUIS PERDRIER FRENCH BRUT (NV) – Bordeaux – France (100% Chardonnay), an exceptional French Sparkling. Deliciously toasty notes melt into the scent of golden apples. Gentle and harmonious on the palate with some richness tempering the citrus finish. For me, this was the best sparkling of the day.

The third French pour was CHAMPAGNE PHILIPPE FOURRIER – PINOT MEUNIER BRUT (NV) – Champagne, France (100% Pinot Meunier), with a beautiful pale-yellow hue and fine bubbles bright in the glass. The nose offered fresh red fruit aromas of subtle blackberry, hints of peach and plum. This one seemed a tad light to me after the Brut.

Lastly, I met Kathy at the Sutherland Estate stand – a small, second-generation family-owned enterprise located at a picturesque location in Dixon’s Creek, a mountainous area, past Yarra Glen in the Yarra Valley. Her first pour was SUTHERLAND ESTATE – 2021 BLANC DE BLANC SPARKLING – Yarra Valley (100% Chardonnay). Made from 100% Chardonnay in the Méthode Traditionelle, with secondary fermentation and ageing in the bottle.

Kathy’s second pour was her SUTHERLAND ESTATE – 2023 SPARKLING TEMPRANILLO (100% Tempranillo.). This renowned sparkling red is unique because we don’t often see a Tempranillo here in Australia. Sutherland have been making it for more than 12 years, and it’s all grown onsite. It has spent twelve months in seasoned barriques before undergoing secondary fermentation on lees in the bottle made Méthode Traditionelle, having a powerful burst of mid-palate fruit of berries, dark cherries, a bit of liquorice, with peppery spice and earthy undertones to finish. The palate is medium-bodied and well structured, with fine tannins and a persistent bead. A great match with cheese and charcuterie. It had the power of a sparkling Shiraz and I’m keen to visit their Cellar Door for more.

I tried the SUTHERLAND ESTATE – 2025 SPARKLING ROSÉ (with 100% hand-picked Pinot Noir). Whole bunches of Pinot are harvested from the vineyard and come into the winery and straight into the press immediately leading to the gorgeous pale salmon colour. The aromas are bright and enticing with rose petal, strawberry and perfume. On the palate were strawberries and cream. A delightful summer’s drink, but for the last glass of the day, I had to return for one last taste of the Sparkling Temperanillo.

Illustrator, Susan Kerian, who some recognised from her work with retailer, ‘Blue Illusion’, returned to showcase her original illustrations – perfect for ‘Emily In Paris’ fans and Francophiles.

All sparkling wines and Susan’s artwork could be purchased on the day so, I happily departed with my order for delivery of four of the LOUIS PERDRIER FRENCH BRUT (NV) from Bordeaux, two of the CHAMPAGNE PHILIPPE FOURRIER – PINOT MEUNIER BRUT (NV) – from Champagne in France and six of the SUTHERLAND ESTATE – 2023 SPARKLING TEMPRANILLO from the Yarra Valley, because according to F. Scott Fitzgerald, “Too much of anything is bad, but too much Champagne is just right.” Well, that’s my excuse and I’m sticking to it!

All of the exhibitors offered great deals for purchasing on the day. I’ve never understood why tastings sometimes don’t allow that, but at Bubbles Festival, you could take the wine with you on the day, or get it delivered later, which was ideal.
$5 from each ticket went to the Sacred Heart Mission, St Kilda. Natalie chooses a different charity to donate to in each of her state’s events.

It was a sunny 25degree day in Melbourne and I tasted some new and exciting Sparklings and Champagnes, met like-minded and vivacious souls, feeling the fresh bubble of life, therefore, I thoroughly recommend attending the Bubbles Festival.

Here are the other states’ Bubbles Festivals, coming soon:

Brisbane – 9 May 2026 – Get your tickets here!
Sydney – 22 & 23 May 2026 – Get your tickets here!
Adelaide – 6 June 2026 – Get your tickets here!
Perth – 20 June 2026 (TBC) – Join waitlist here!

To book tickets to The Bubbles Festival 2026, please visit https://thebubblesreview.com/the-bubbles-festival/.

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