Mark Jacoby as ‘Neil-Diamond-–-Now’ and Shirine Babb as ‘Doctor’ in A Beautiful Noise, The Neil Diamond Musical
We're thrilled to shine a spotlight on the immensely talented actor, Mark Jacoby, who is currently captivating audiences on Broadway in A Beautiful Noise, The Neil Diamond Musical. Set against the backdrop of the iconic Broadhurst Theatre, this musical extravaganza has been the talk of the town since its debut, and Marc's performance is a significant highlight. The show is closing June 30, 2024, so be sure to secure your tickets here!
Mark calls the charming town of Maplewood, New Jersey, his home. Nestled in the heart of Essex County, Maplewood offers a quaint yet vibrant atmosphere that perfectly complements Marc's artistic lifestyle. The town's picturesque streets, lined with historic homes and lush greenery, provide a serene backdrop for Mark to unwind and find inspiration when he's not under the bright lights of Broadway. With its close-knit community and cultural richness, Maplewood has become a beloved haven for Mark, where he can enjoy a balance of suburban tranquility and artistic stimulation.
In this exclusive interview, we'll delve into Mark's acting journey and his experience bringing the story of Neil Diamond to life.
You play Neil Diamond (Neil Now) in Broadway's A Beautiful Noise The Neil Diamond Musical. Did you have an audition? If yes, tell us about it.
Yes, I certainly did audition. A Beautiful Noise was set to play in Boston during the summer of 2022 as a tryout for the Broadway opening later that year. The actor who had developed the role in readings and a workshop prior to the Boston engagement was unavailable due to a television conflict. So when I auditioned it was strictly for the Boston run, not Broadway. The audition process was pretty quick -- no callback and I was offered the part in about three days. Subsequently, that other actor decided he couldn’t do both ABN and his television show, so the role fell to me for Broadway.
Did you have an opportunity to speak with Neil Diamond about how to portray him?
I have spoken with Neil on a number of occasions, but mostly just to get to know him; we didn’t speak about “how to portray” him. Any thoughts Neil might have had about that, I presume he would have taken to our director. That said, I thoroughly enjoyed speaking with Neil.
Commanding the stage as the lead, or in any role, is not an easy task. Please share some techniques or strategies you use to captivate the audience during a performance.
I believe that the main thing any actor is called upon to do, is to treat the material as truthfully as possible. To me that means focusing on the character and the character’s wants honestly and completely. I try not to think about “captivating” the audience. That’s a slippery slope -- if I’m thinking about the audience, I’m NOT thinking about what I should be thinking about.
You've received numerous accolades including a Tony Award nomination for your role in Show Boat. How do you stay grounded amidst the recognition and success?
Oh my goodness, show business does a fine job all by itself of keeping one grounded! It’s lovely to be occasionally recognized and appreciated, but the norm is a struggle. It’s a good and enriching struggle, but a humbling one.
You've played a wide range of roles, from the Phantom in The Phantom of the Opera to Father in Ragtime. How do you approach creating distinct characters for each show?
Both of the pieces mentioned in the question are “period” pieces. Especially with respect to Ragtime, but also Phantom, the historical context is very important. So I try to immerse myself in the time and place being portrayed. That entails a good deal of academic study, but I find it very rewarding. It’s a different thing to be an American father in 2024 than in 1904. As far as character goes, I tend to rely on the rehearsal process to bring whom I’m playing into focus. And, of course, the vision and guidance of the director.
What's your process for preparing for a new role, from initial rehearsals to opening night?
I start by reading the script as if I weren’t going to be in the play. Then I read it again with an emphasis on my role. The third read is to examine the main characters with whom I’ll interact. Then I set about to, yes, learn the lines. For me, this requires writing the lines by hand several times before trying to commit them to memory. I prefer to show up the first day of rehearsal “off book”. That allows me to work closely with the other actors as soon, and as often as possible. I try not to put too much emphasis on “opening night”, but instead to look at the entire thing as a never ending process… like you’re still in rehearsal when the show has been running a year.
Neil Diamond, photo by Andreas Terlaak
You were born in Tennessee but moved to New Jersey (yay!) and raised a family in Maplewood. What led you to become a New Jersey resident? What do you love about Jersey? Why Maplewood?
When our second child was born the suburbs became more attractive. I will admit that most of the ground work on deciding to move to Maplewood was done by my wife, and she did a fantastic job! When I first saw the location, I called it “anywhere USA”, because the stresses of living in the city immediately fell away. We’ve been here, in the same home, for 33 years. I guess we like it.
How do you commute to the city for work?
For this job, I take public transportation into work, and I have a car service to bring me home. The latter is a perk I’ve never had before, and I’m really loving it!
What ideas and thoughts do you have that could make Broadway a better experience for actors?
Frankly, it’s hard for me to imagine that Broadway could be a better experience for actors than it is. True, it’s a grueling, sometimes disheartening, crazy walk of life. There are many low times, but the highs could not be higher. To experience the joy of our audiences after every single performance of ABN makes one feel… it doesn’t get better than this!
How has the Broadway industry changed since you began your career, and what do you hope for its future?
The main change that I’m aware of is the conflating of live theatre with other media, that is, electronic media. Broadway is the commercial theatre, and today it is impossible to run a theatre presentation with the notion of being strictly “live”. This is evident in the promotion of our product, but also in the very stage craft that is employed. We see more and more sophisticated, mechanical techniques on the stage that, frankly, believe the notion of “liveness”. If I have a hope for the future of Broadway it would be that the appreciation of actual live qualities does not totally go away. It’s already gone and probably not coming back with respect to sound -- you are unlikely ever to hear an acoustic sound from the stage of a Broadway musical again.
How do you maintain your vocal and physical health during the demanding schedule of a Broadway run?
I’m pretty regimented. I have a physical workout routine, and a vocal workout routine that I adhere to quite religiously. It does get more difficult as the years go by, but I haven’t given up yet!
It's not easy to become a successful actor. What advice do you have for people who are looking to start an acting career later in life?
Well, that’s a hard question because I didn’t start at this late in life. So my advice, as it were, would be the same to people of any age. Work. Find a way to stay active in your craft. If you’re not in a Broadway show, do a regional project. If not that, dinner theatre, Theatre for Young Audiences, a workshop, a reading, anything. If not actual work, get into class, get your friends to get together and read plays, whatever. Keep going!!!
Fun question: Are you superstitious?
No, not really superstitious. But I have some games, e.g. if I see a penny on the ground I pick it up only if it’s heads up. I know… I know…
Knowing A Beautiful Noise The Neil Diamond Musical is closing on June 30th, 2024, how does that set the tone for the rest of the performances? At what point do you start looking for your next job?
I think the average performer in a Broadway show starts looking for their next show when the current show OPENS, not when it has announced its closing. That’s just the way it is. We know as performers that every job is a temp job. That said, having an announced closing date is in no way deleterious to company morale. If anything, it reminds each of us how grateful we are to have been in a successful production and to be “living the dream”.
Anything else you'd like to say?
Not much of a picture taker, so I’ll leave that to our company management. Charities? I’m very big on the American Red Cross, Doctors Without Borders, and Smile Train.
