Amadeus

Synopsis

This play, starring the best music of Mozart, gives an alternate view of the un-timely death of Mozart. Seen through the eyes of the Court Composer Salieri we get a story of jealousy and hatred as the young upstart's talents eclipse the established musical hierachy. But, was Salieri directly involved in Mozart's death or not?

Our Review:

19 September 2006

Director John Doyle has had enormous success with his “actor-musicianship” on various musicals, most notably of course with Sweeney Todd, which, after its Whatsonstage.com Award-winning success in the West End, transferred across the pond and nabbed two of this year’s Tony Awards. This November, he’ll bring his actor-musician version of another Sondheim classic, Company, to Broadway, too.

Ahead of that, Doyle has returned to the UK to try applying his lauded technique to a play for a change: Peter Shaffer’s 1979 epic concerning Mozart and his jealous contemporary Antonio Salieri, Amadeus. Creating music live in a play about composers seems an obvious choice but, for all the star-studded previous versions on stage, it’s a first – and an inspired choice. When we hear the 17-strong ensemble strike up with extracts from The Marriage of Figaro and The Magic Flute, we fully appreciate Salieri’s fervent belief that ...

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Latest User Review

62.6.139.13) - 4 October 2006:

John Doyle has done it again with this beautiful production of an almost forgotten play. The addition of actor-musicians breathes new life into Peter Shaffer's often over-wordy piece, although perhaps there could have been even more music, particularly in the second half. The necessary versatility also creates a couple of acting problems: Jess Murphy is a delight as Constanze but is not remotely common; Joanthan Broadbent portrays an irritating Mozart and avoids the over-the-top buffoonery of Tom Hulce's movie version, but does little to convey the genius of the composer. Of course the success of Amadeus depends on the quality of the lead and ("tonight Matthew I'm going to be Antonio Salieri") Matthew Kelly is a triumph. His towering frame drips jealousy and malevolence before descending into self-loathing and self pity. This is a million miles from Kelly's camp, avuncular TV persona and demonstrates that he is an actor of considerable substance. This production seems headed for a West End transfer but, as has been noted elsewhere, it is difficult to think of a more perfect venue. Wilton's is a semi-derelict shell of a building, dripping with atmosphere. With a lighting design creating a candlelit effect and wonderful acoustics you feel drawn in to the period of the play. It will be a long time before I forget the sight of Constanza cradling Mozart in her arms as his Requiem fills the hall....

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