‘Nowadays all cats appreciate are coloratura,’ Salieri says gravely ‘like the rest of the Public’. This sums up Peter Shaffer’s Amadeus (which is currently playing at the Keble O’Reilly); there is the distinction between what the ‘Public’ appreciates, the musical genius of Mozart and Salieri’s unfortunate ability to recognise and be destroyed by knowing the distinction between the two.
Salieri is doomed to understand that Mozart’s work is better than his own in a world devoid of proper musical appreciation. He is gripped by guilt – The play is about the bitter rivalry between Salieri and Mozart, or, at least, the resentful rivalry Salieri had with Mozart and Mozart inadvertently suffering its consequences. The former is destroyed mentally by inconsolable malice and the latter economically and physically.
A play filled with death, self-destruction and violence cannot always be humorous. Amadeus has the appropriate amount of humour; when it is done it is done well and properly. We begin with the dynamic venticelli (Susie Weidmann and Joe Rachman) who sustain their wonderful energy throughout the show. Salieri’s ‘little winds’ are cheeky, unemotional and impish, the ideal addition to his lamentations. The emperor (Nicolas Rackow) and courtiers (Matilda Piovella, Will Shackleton, and Clement Marshall) also provide effective comedic relief. Highlights included a singing cat opening the second act, slut-drops and gyrating in time to the Queen of the Night aria and dancing done to no music.
Jo Rich’s Salieri is perfectly chameleonic. At the start of the play, Salieri is dramatically illuminated in a chair, he is old and dying and has the air of a traditional storyteller, severe but to an extent, affable. This continues in the first act and Salieri’s asides to the audience make us sympathetic to his rage against Mozart. It is in the second act that Salieri is transformed into someone irredeemable, filled with insatiable jealousy and a single desire to destroy Mozart’s life. Salieri’s compositions may have played second-fiddle to Mozart’s pieces, but Rich stole the show. With heart wrenching calls to God and a transition from honest worker to sleazy scoundrel, Rich’s standing ovation was well deserved.
Mozart (Poddy Wilson) is every bit the ‘giggling child’ Salieri condemns him to be. Wilson’s Mozart is the petulant genius who sees the world in an extraordinary way. Mozart and his wife’s, Constanze Weber (Molly Jones), absurd games that include spanking and crawling around on their hands and news are done convincingly and both have the lightness of children. Both Wilson and Jones are able to change from ridiculous scenes to powerful, emotional ones. Indeed, Amadeus demands breadth.
With imaginative music and Shaffer’s caricatures of historical figures, there is no need, and perhaps no room, for an overly elaborate set. Elspeth Roger’s set was simple and effective,with old chairs and tables that evoked the eighteenth century without distracting away from the plot. When coupled with Andrew Raynes’ lightning, the production’s landscape makes the intention of the characters clear. Effie Halstead’s costumes are decadent amazing; Notable pieces include Constanza’s white and blue pinstriped dress and Mozart’s many exciting coats.
When Salieri speaks about the surprising and incandescent oboe rising above the melody, we can hear it in the orchestra and while this is in part due to Mozart’s genius, it is also greatly helped by the robust, bright tone of the oboe. Indeed, the play would not be nearly as compelling if not accompanied by Mozart’s music, and the orchestra was delightful. Katherina Cavalieri (Lois Heslop) is fantastic, each snippet of the soprano leaves you wanting more.
Amadeus was true to Mozart’s genius and Salieri’s jealousy. It was often chaotic, ardent and sudden. It boasts a wonderful cast and is sure to keep you on your toes.
The final night of Amadeus will play at the Keble O’Reilly on Saturday, 25th November at 7.30pm. Tickets are available here.
