AMADEUS

Amadeus is a play written and first performed in 1979 by Peter Shaffer which gives a fictional account of the lives of composers Wolfgang Amadeus Mozart and Antonio Salieri (though how much is fiction and how much has some fact is a matter of conjecture). The play is effectively narrated by Salieri to the audience through a series of flashbacks from his surprising opening statement that it was he who plotted and implemented the early death of Mozart, not out of jealousy of his ability but out of vengeance against God for torturing him for being the only one able to see such genius and not able to match it. The play makes significant use of the music of Mozart, Salieri and other composers of the period. The premieres of Mozart's operas The Abduction from the Seraglio, The Marriage of Figaro, Don Giovanni, and The Magic Flute are the settings for key scenes. Peter Shaffer rewrote the play for the screen in the 1984 Oscar-winning film of the same name.

It is always a great spectacle to see a performance in the Tithe Barn, and this was no exception. The set position was ideal – allowing side entrances via the side doors, but still with the barn itself visible behind. The set itself was excellent and worked brilliantly. The raised platform allowed access from the floor area. The flats, side and rear allowed three performing areas and 3 entry points. The largest central area as the palace of Joseph II looked stunning, suitably opulent in design, complete with Gold Columns and some terrific paintings of the Emperor and Empress to finish the effect. The rear entry point was well designed and decorated too – the addition of the Masons motif in Act 2 worked well too.  The side areas themselves were well decorated and used for the non-palace scenes with Salieri and the inside and outside of Mozart’s final home. Scene transitions were well-managed and a good use of the cast was made in making the scene changes themselves.

The lighting design and application integrated with the set design really well, considering the limitations of the freestanding rig requirements available. Spots well-used and the use of colour via the LEDs was built up well as the performance developed, peaking with the deep red and effects used for the scenes with the ‘ghost’ figure towards the end. The use of blown haze worked realty well to add to the mystery of the opening scenes. The volume of it did distract a little in the palace scenes on occasion, but really came into its own to create the atmosphere through the coloured beams of light for the drama for the end of the show and for when it was dark outside the barn as well– an additional consideration for lighting this type of venue. An excellent job done here.

The sound was very good too. The pick-up microphones were able to catch all of the dialogue really clearly at all stage positions, so nothing was missed. We did pick up a lot of the sound of shoes on the wooden flooring too, but I’m not sure how you really address this.  There was a significant amount of supporting music to cue in a well, which was done with precision timing and volume control to not overpower any dialogue. Really well done here also.

This is a difficult show to costume due to the 18th Century Austrian court setting and the 45 year time period of the production, but on the whole the costumes were really good. Your explanatory notes on your costuming decisions in the programme helped to detail your approach. Your practicality over complete accuracy was a sensible strategy and did not affect the overall effect created. The costumes themselves used were to a good standard and the colour schemes and combinations worked well.  Wigs, an essential requirement for this show (particularly for the men) were generally very good (it was just Mozart’s that looked a little shiny). Make-up was generally applied well and was of the period. The addition effects used as part of Mozart’s deterioration were effective too.

The directing of the production was very strong. Even with such a talented cast, the hand of the director was clear to see, from the careful control of entrances and exits (to maintain a flow and a pace to a long production) right through to the characterisations and interactions built to bring the performance to life.

In reviewing the principal performances:

• Antonio Salieri.  An incredible performance of a very challenging part. Hardly off-stage, you were able to convey the many sides of Salieri and even keep the humour and our sympathies of the character despite his motivations and plots. Very well done (and welcome back to being on stage in the area!)
• Wolfgang Amadeus Mozart. A quite excellent performance too. You were also able to portray the many sides of the character, capturing Mozart’s energy, bawdiness and silliness, right through to his anger, frustration, desperation and the insanity of his demise.  Fantastic.
• Constanze Weber.  A great portrayal of what is another really challenging part. The full range of emotions were shown in building the character - your final scene with Mozart in particular was most moving.
• Joseph II.  Really enjoyed your portrayal of the Emperor and the contrast it brought to the performance. Well done.
• Count Johann Kilian Von Strack. Loved your stuffiness and reactions to Mozart’s behaviours.
• Count Franz Orsini-Rosenberg .  A really well-controlled performance in portraying the characters frustrations at Mozart’s ability to take on-board his advice.
• Baron Gottfried Van Swiften.  Well-portrayed too, Your scenes with Mozart were most memorable.
• Venticelli 1 and 2.  Engaging and entertaining performances from you both as Salieri’s gossipmongers and pseudo-Greek Chorus. The audience could feel how much you were enjoying your roles and you kept your characters well.
• Other Parts. Great support from an ensemble with a real depth of talent – supporting the other performances without distracting from them.

In summary, this was an excellent production from The Bradfordians. The performance was compelling, engaging, entertaining and of a very high-standard. You were able to balance the drama, emotion and humour within the play to create something completely immersive, even for what is a long play. Very well done to everyone involved for a great evening of high-quality entertainment.

PLEASE NOTE:

Any observation made by the reviewer can only be based on what he sees at the performance in question.  The reviewer may have received information in advance of the performance and it is inevitable that his assessment will be effected by that knowledge.

The N.O.D.A. Representative’s intention is to give an objective critique of the overall production and in particular the performance viewed.  It should be remembered that any review of this nature can only be objective as far as the techniques used during the performance observed.  Any criticisms expressed may not have been valid at other performances, and are only made to encourage higher standards in Amateur Theatre.

It is hoped that the audience’s appreciation of your efforts will have given everyone a lift and encouraged you to greater achievements in the future and that the observations made by the reviewer will prove helpful in improving future productions.

 

 

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