Fans and first-nighters greeted Neil Diamond as he emerged from a black town car on West 44 Street at the Broadhurst Theater for A Beautiful Noise’s opening with a rousing “Sweet Caroline.” Who doesn’t love Neil Diamond? Well, it turns out from this jukebox musical about his life, he doesn’t.

As it begins, an old version of himself (Mark Jacoby) is seated in a large leather chair opposite a shrink (Linda Powell). They are trying to figure out how to work together; his song book becomes the scaffolding for a narrative that looks like it will yield the desired music, the occasion for how he wrote it, and a window into his life. Alas, Portnoy’s Complaint, another vehicle for a deep dive into a Jewish boy from Brooklyn’s psyche, this is not. But here’s the good news: Will Swenson, as the young songwriter, emerges, electrifying the audience with his renditions of Neil Diamond hits.

Well, it is useless to quibble about how a Broadway show misses the chance to tell a real story in its manner of shaping an entertainment– unless you want to believe that Neil Diamond’s fame, like the sequined outfits he wore, was so blinding, he never actually got to know the source of his insecurities. Covering his auspicious debut writing songs for the Monkees, performing at The Bitter End, the show looks at his domestic life: only the first two wives are present onstage, performed by Jessie Fisher and Robyn Hurder, with various couches indicating home. Just as well because he was mostly absent, touring obsessively. In a Playbill note, he endorses this project as therapeutic, “wishing perhaps that only if I could make a few edits in the script, it would change some of the reality of what I was seeing.”

The real Neil Diamond sat in a box overlooking the stage. Observing him from the orchestra, you could wonder, what was he really thinking of his life limned so superficially, his enormous talent as songwriter and performer sketched and generic. Occasionally you could see Diamond’s hand on the rail, his fingers tapping. He clearly could appreciate what the audience ate up: the songs he wrote, and the opportunity to sing along. For the evening’s finale: the greatest note of all, he stood up and sang.