Amadeus

Whenever I receive an invitation to see something I’ve not seen before I can often be excited with high expectations of what’s to come. I have to say that Amadeus is one of the best drama productions I have seen to date, please note the omission of the word ‘Amateur’ in my opening statement as it was of such professional standard in every respect.

The comprehensive notes in the programme states that the play is very rarely done and has taken some 45 years to reach the stage at OldburyREP where we were transported back in time to Austria 1823 to also include many wonderful well known musical compositions of Mozart.

Without delving deep into the synopsis, I would like to first pass comment on the fabulous lavish period costumes. These were stylised where possible with modern additions including Dr Martin style boots for some with red lace’s, visible tattoos, jewellery, additional make up finishes e.g. black hearts on some cheeks, red heart shaped lips and I also spotted some nail art. These touches blended seamlessly into the costume plot throughout with the characters in the play being able to just add a jacket or change a shirt or remove a waistcoat to take the scene into the next day, following night or months away without the need for complete costume changes.

The compact stage at this theatre doesn’t often lend itself to large cumbersome scenery as there is very little space or depth for the crew to change things so the simple staging formed all the necessary scenes with a small low rostrum upstage, just the back view of the harpsichord downstage right and a vintage porters chair with an occasional table complete with sweet treats stage left enabled the actors ample space to show us their craft. The stairs and entrances/exits in the auditorium were used to good effect when the Venticelli and other ensemble opened the production mesmerising the audience with their audible whispers of “Salieri”, “Assassin”, felt like fantastic surround sound.

Paul Steventon-Marks was outstanding in his portrayal of sinister Antonio Salieri. He literally did not leave the stage his only breaks in the complex and constant dialogue being when he took time to sit in the porters' chair, partake in the numerous sweet treats and eavesdrop on others on stage. Even then he was often talking! I know the audience were amazed how he remembered all the complex dialogue. The musical genius Wolfgang Amadeus Mozart was played by Mariel Oliver, I know it doesn’t sound quite right when I say the transition in this character as Salieri does his upmost to destroy him appeared totally credible, ultimately resulting in the death of the somewhat crazy and by the end destitute soul.

The whole production was very well cast with a 13 strong supporting cast who each had their individual roles to play. Emily Jeffrey played Constanze Weber with confidence and eventually disdain for not only Salieri who teases and humiliates her but also disbelief at the situation in which she finds herself. Both Salieri and Mozart, had a common intention, to impress and influence the members of the Austrian Court especially Emperor Joseph II of Austria who was played well and with authority by Matthew Jeffrey. Two people I must give special mention to are Melanie Brown and Gail Mee who were Venticelli 1 and 2 respectively, they were the ones who saw everything, knew what was going on and if they didn’t, obviously speculated. I recall them chanting “I don’t believe it!” After each shocking revelation in the story. Both added much needed lightness, flow and balance to the somewhat depressing elements of the play.

Congratulations to the production team, there are many names and roles listed in the programme, thanks to you, the unseen army as without you the production would not have taken place and certainly would not have been the dramatic spectacle that it was. Well done everyone on achieving such an excellent thought-provoking piece of theatre, one I will remember for a long time to come for all the right reasons, Superb.

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