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Ticket Pre-sales Commence Today For The Sydney Season Of A Beautiful Noise: The Neil Diamond Musical

09/06/2026 Breaking News

Feature-A BEAUTIFUL NOISE: THE NEIL DIAMOND MUSICAL

Ticket pre-sales for the highly anticipated Sydney season of A BEAUTIFUL NOISE: THE NEIL DIAMOND MUSICAL commence today with tickets to the general public going on sale from Monday 15 June. The internationally acclaimed production will play a strictly limited season at the Sydney Lyric from Saturday 14 November 2026. Visit www.theneildiamondmusical.com.au for ticket information.

“Broadway’s Will Swenson electrifies audiences. Close your eyes and you’d swear that Diamond himself is on stage performing his string of hits.” FORBES
“So Good, So Good, So Good!” Entertainment Weekly
“It sends you home hungry to hear the albums again and there is no higher tribute.” The Hollywood Reporter
“The biographical drama is a heartwarming celebration of Mr. Diamond’s uplifting music and inspirational life.” The Washington Times

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 songbooks 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: www.theneildiamondmusical.com.au

SEASON DETAILS

MELBOURNE
Venue: Princess Theatre
Season: Previews commence on Wednesday 5 August
Performance Times: Wed-Sat 7.30pm, Wed/Thu/Sun 1pm, Sat 2pm, Sun 6.30pm
Prices: From $69 (Transaction fees apply)
Bookings: Visit ticketek.com.au or phone 1300 665 915
Groups 10+: Visit ticketek.com.au or phone 03 9299 9873 Mon-Fri 9am-4pm

SYDNEY
Venue: Sydney Lyric, Pyrmont
Season: Previews commence on Saturday 14 November
Performance Times: Wed-Sat 7.30pm, Wed/Thu/Sun 1pm, Sat 2pm, Sun 6.30pm
Prices: From $69 (Transaction fees apply)
Bookings: Visit ticketmaster.com.au or phone 02 9509 3600
Groups 10+: Visit ticketmaster.com.au or phone 1300 558 878 Mon-Fri 9am-5pm

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Eurydice

31/05/2026 Tam Dahmen⭐

Eurydice Rating

★★★★★

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Melbourne Shakespeare Company’s production of Eurydice at fortyfivedownstairs is a remarkable theatrical achievement, an ambitious, visually poetic and emotionally resonant work that lingers long after the final moments on stage. Written by acclaimed American playwright Sarah Ruhl, whose celebrated works include In the Next Room (or The Vibrator Play) and Stage Kiss, Eurydice offers a contemporary reimagining of the ancient Greek myth of Orpheus and Eurydice. In the hands of director Gary Abrahams, this modern classic becomes a deeply moving exploration of love, loss, memory and the spaces between worlds.

Ruhl’s script cleverly balances heartbreak with humour, weaving together lyrical language, surreal imagery and witty commentary on the challenges of translating classical myths for contemporary audiences. This production embraces those contrasts wholeheartedly. The result is a theatrical experience that feels both intellectually stimulating and emotionally accessible, inviting audiences into a world where the ordinary and the extraordinary coexist.

Director Gary Abrahams once again demonstrates why he is one of Australia’s most inventive theatre-makers. His vision for Eurydice is bold and imaginative, creating a production that seamlessly blends music, visual storytelling and dreamlike theatricality. Every creative choice feels purposeful, contributing to a rich sensory landscape that captures the mythic scope of the story while remaining grounded in its deeply human emotional core. Abrahams crafts a world that is at once strange and familiar, beautiful and heartbreaking.

The cast delivers exceptional performances across the board, with each performer bringing a distinct energy and presence to the stage. Special mention must go to Aisha Aidara in the titular role. Aidara’s portrayal of Eurydice is fearless and deeply affecting. Through both voice and movement, she captures the character’s vulnerability, intelligence and passion with extraordinary nuance. Her performance is filled with emotional honesty, allowing audiences to connect profoundly with Eurydice’s journey between love and loss.

Equally captivating is Devon Braithwaite as the Lord of the Underworld. Braithwaite commands the stage with magnetic charisma, bringing humour, menace and unpredictability to the role. His performance provides many of the production’s most memorable moments, skillfully balancing the play’s darker themes with its delightfully absurd wit.

What makes this production particularly successful is its ability to touch the soul without sacrificing any reverence for the classical myth. It trusts its audience to engage with its complexities while offering moments of genuine wonder and beauty. The combination of evocative design, haunting music and exceptional performances creates an atmosphere that feels almost dreamlike, as though the audience has stepped into a living poem.

Melbourne Shakespeare Company has delivered a production that honours the spirit of Orpheus and Eurydice’s extraordinary love story while carving out its own unique voice. Eurydice is a masterclass in contemporary theatre-making. This production is thought-provoking, visually stunning and emotionally powerful. It’s little wonder that this season is likely to sell out. This is theatre at its most imaginative and affecting, and it is absolutely not to be missed.

To book tickets to Eurydice, please visit https://www.melbourneshakespeare.com/eurydice.

Photographer: Nick Mick Pics

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42nd Street

31/05/202631/05/2026 Debra Campbell🥇🔥🦉🎭🎶

42nd Street Rating

★★★★★

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Shuffle off to Nunawading in Melbourne to see 42nd Street PLAYING NOW at The Round. By far my favourite luxury theatre in the suburbs with one of my favourite community theatre companies, you will be toe tapping from start to finish.

This is a tap dancing show so it’s definitely my kind of show and if you’ve ever tapped, wanted to tap or just love the golden age of tapping on Broadway, this is also your show!

Produced by Babirra Music Theatre I already know it’s going to be stupendous not only because their productions are always of the highest quality, but also because they are celebrating their 70th year this year and that deserves very special shows indeed. Note here they do Disney’s ‘Frozen’ The Broadway Musical next. You can receive a discount for booking at the same time this show of ‘42nd Street’ (on now ‘til 7 June) AND ‘Frozen’ (on October 1-11).

Ticket link: https://www.theround.com.au/42ndStreet

The curtains open and a silly but clever voice reminder tells us to turn our phones off, that’s the first laugh and it’s followed by many more.

This is an old-fashioned musical set in 1933 but it never gets old. With ‘42nd STREET’ up in lights on the backdrop we’re “doing a show” with a cast said to be the “best in town”, and they are.

Chelsea Hyde takes the lead as naïve ‘Peggy Sawyer’, shy and cute with advanced tap skills and all-round talent. No wonder she got discovered for this role similar to her character seeking stardom.

Killer vocals are astonishing from the incredible Nicole Kapiniaris-Anson suitably playing the accomplished ‘Dorothy Brock’.

Richard Thomas as ‘Julian Marsh’ is exceptional in his acting and tops every sung note.

‘Billy Lawlor’ is played by Oliver Pinkett and I really felt he was a constant standout. When I see in the program he has dance trained for over 15 years, that’s no surprise.

Comical moments where Dorothy jetés off stage is so funny after she’s purposely portrayed a lack in dance ability, the multiple kisses between Peggy and Julian are well done in fun and ‘Maggie Jones’ (played by Suzie Ryrie) convincing ‘Abner Dillon’ (played by Tim Maloney) to let Dorothy go, is just one part when these two add their own touch of humour. ‘Bert Barry’ (played by Jeremy Russo) was another and the favourite character of my husband who continued to laugh at basically anything he did or said.

I loved the scene using light behind a giant white curtain creating shadows big and small and I also loved the lunch with Maggie and Peggy. Five stars here to Jordan French, Hayley Wootten, Annabelle Windsor and Madeleine Magetti for making this extra engaging with great interaction on stage.

The rest of the girls tapping their hearts out and stepping up in ‘bit’ parts performed every tiny morsel of their role with the biggest personalities and SMILES! Abby James, Alivia Stewart, Ella Moeller, Jade Phillips, Chelsea Fensom, Nina Goeghegan, Holly Bromley, Sheona Gregg and Erin Jankelowitz, were all an absolute JOY to watch every second. The umbrella dancers were gorgeous, and particularly on the fab costuming I note those very unique giant flowers!

Rob Blowers, Joshua Houston, Bradley West, Sean Wharley, Simon Evans, Jack Moeller, Alex Anderson, Caleb Waterworth, Andrew Steen, James Kaiser, Jacob McKenna and Chris Anderson – all AMAZING!! So fantastic to see so many guys up there tapping on those steps (especially in the top hats) and being the extra dancers, singers, actors throughout, or as in Rob’s case expertly playing ‘Pat Denning’. Smaller roles are not lesser roles, they are the lifeblood beneath.

I imagine the excellent set construction took some effort with use of many different projected digital backdrops working so seamlessly that sometimes it was hard to see where the digital imagery started and the tangible set pieces began. Loved the massive dimes too, but the folding train was a showstopper!

Above all, you are going to hear extraordinary music by the live Orchestra and see some extraordinary dancing throughout the entirety of this show; certainly more tapping than you’ll see at anything else.

Yes, if you love tap dancing you simply can’t miss 42nd Street; if you love musicals you simply can’t miss 42nd Street; and finally, if you love supporting local community theatre whatever it be, you simply cannot miss 42nd Street.

Do yourself a favour, grab your old time musical loving friends and make it the best night (or matinee) out. I thank the wonderful Babirra Music Theatre team for giving me that chance today.

President – Jaison Hoernel
Director – Alan Burrows
Musical Director – Marty Macaulay
Choreographer – Susan Lewis
Costume Designer – Ely Tapp
Set Designer – Chris Anderson
Production Manager – Jo Brincat
Production and Props – Steve Cavell
Stage Manager – Arlene Miller
Lighting Designer – Deryk Hartwick
Sound Designer – Marcello Lo Ricco

Orchestra – Shirley White, Brad Slater, James Bradley, Catherine Buxton, Michelle Brown, Joel Dullard, Matthew Holzinger, Jenter Zilm, Sam Fitzgerald, Sean Lambert, Sienna Couzens, Jonty Smith, Ryan Parks, Bryn Bowen, Darryl Barron, Cody Legett, Sean McBride.

To find out more see: https://babirra.org.au/

To book tickets to 42nd Street, please visit https://www.theround.com.au/42ndStreet.

Photographer: Matthew Chen

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Kimberly Akimbo

31/05/2026 Liv Carlisle🥉

Kimberly Akimbo Rating

★★★★★

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Last night, I had the pleasure of going to see Strathmore Theatrical Arts Group (STAG)’s production of Kimberly Akimbo, a heart warming coming of age story about a young girl who ages four times faster than she should, her hypochondriac, pregnant mother, wellmeaning but drunken father, less than law abiding aunt and the boy from school who won’t leave her alone. The play, despite being written in 2000 by celebrated playwright David Lindsay-Abaire, is not often performed, particularly in Australia. The delightfully written piece of theatre has been on my list to see for a while, ever since I unfortunately missed the MTC’s season of the musical, so I went in with high hopes.

The cast rose beautifully to meet my expectations, taking complicated emotional notes, physical restraints (I’ve personally never even considered how hard it must be to act with crutches AND bandages on both hands) and specific accents into their strides. Special props must be given to Jeanne Snider who played the leading role of Kimberly. Jeanne has had the unique challenge of embracing both her inner 16 year old and her inner 60 year old and has done so with a grace and whimsy that has beautifully embodied the character to such extent that I am unwilling to posit a guess towards the actress’s true age. I would also like to applaud the efforts of returning STAGer Nathan Slevin, whose steadfast and nuanced performance provided the perfect contrast to the more extravagantly characterised roles undertaken by Emily Goode, Elise Moorhouse and Dante Filippone.

A moment of appreciation must also be given for the set. The theatre space, while small, created a cozy, homelike environment perfectly suited for this quirky little play, and the set was designed with an attention to detail that thrilled and entertained me (the Buffy the Vampire slayer posters in particular made my teenage heart sing). I’m always appreciative of a production that knows how to utilise the space they are given (especially within the penny pinching world of community theatre) and STAG’s Kimberly Akimbo is ticking that box, creating a library, a teen girl’s bedroom, a kitchen, the front seat of a car and even a safari in one small theatrette. The detail in the visuals, from the wall paper to the cereal to the costumes all came together to create a not quite harmonious setting, perfectly encapsulating the strange, overcommercialised, technicolour vibe of the millennium.

To book tickets to Kimberly Akimbo, please visit https://www.trybooking.com/events/landing/1528218.

Photographer: Lee Cook

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