Review of "Amadeus" presented by Marin Shakespeare Company | Listen & Be Heard Network Arts News

Salieri’s Revenge

July 23rd, 2008 by maria vrobel · No Comments

(L to R) William Elsman as Salieri and Drew Hirshfield as Mozart in the Marin Shakespeare Company production of "Amadeus," directed by James Dunn. Photo by Morgan Cowin.

“Amadeus” marks the second production of Marin Shakespeare Company’s 19th season. Peter Shaffer’s 1979 play “Amadeus” could be titled “Salieri;” the play heavily depends on the role of Antonio Salieri, the Italian composer, known for his reverently religious and conservative nature. It has been historically rumored that Salieri and Mozart had a rivalry between them. Director James Dunn quotes the late jazz historian, Grover Sales, to illustrate the playwright’s intentions. “Playwright Peter Shaffer calls it ‘a fantasia based on fact. It is not a biography of Mozart, and was never intended to be.” Shaffer sheds light on the two characters, who were both appointed composers by the Austrian Court. Salieri often refers to Vienna as the city of music.

The set design of Bruce Lackovic introduces the performance. The stage doors appear as aged sheet music, brown and torn at the edges. A grayish-white replica of an 18th century piano stands at the right of the stage, completed by props designer Joel Els. The large sheet music vibrates to the introductory music.

Two dandy gentlemen appear from opposite sides of the stage. Both regally dressed, they also nimbly narrate via gossip repartee. The two performers, Mark Robinson and Rafael Untalan, reappear throughout the play as the two paid confidents, or “venticelli” to Salieri.

As the sheet music opens, Salieri appears as an elderly man confined to a wheel chair. Thankfully, director Dunn allowed actor William Elsman to leave the wheel chair during the long first scene. It allowed Elsman to directly narrate his story to the audience. Elsman physically ages his character with skill. I felt that Elsman played off Salieri’s madness too much in the long monologue. I wanted to see more of Salieri’s self-righteousness and entitlement.

The pace picks up as the scene shifts back to Salieri at 31 years old. Elsman easily takes off Salieri’s robe. He suddenly appears in a sharp black outfit of the 18th Century court composer, standing upright as his voice changes into the confident and well-mannered younger Salieri. The dialogue begins to move faster too.

Salieri introduces us to his wife, Teresa, performed by Celia Madeoy. He praises her stoic lack of passion. Then, he reveals his secret yearning for his young pupil, Katherina Cavalieri, who later has a fling with his scorned colleague, the capricious Mozart. Alexandra Matthew, who performed Hermione in MSC’s TWT, shows her ability to portray an inspiring diva.

The Austrian court members are introduced. If you attend MSC’s “The Winter’s Tale,” you can witness the chameleon-like adaptability of actors that are in both productions. George Maguire, who plays a redneck type of Shepard in TWT, plays a regal and upright Emperor Joseph II. Jerry Hoffman also plays a more serious role, Johann Kilian von Strack. Scott Coopwood, who played the confident Polixenes in TWT, plays a lighter role, Count Orsini-Rosenberg, in Amadeus. The three actors give each role a distinct personality. I found them to be refreshing compared to the script’s tendency to over-exaggerate the characterizations of the main roles.

Drew Hirshfield’s looks seem to match that of Mozart. Hirshfield gives his role the hysterical laugh as actor Tom Hulce did in the film adaptation in 1984. He carries the childlike wonder of the musician legend. Underneath Mozart’s mocking humor, Hirshfield carries his serious undertones. He jokes about fart noises soon after mentally concocting one of his famous works.

Salieri spies on Mozart. He witnesses Mozart’s childish flirting with lively Contanze Weber, whom Mozart eventually marries. Elise Youssef performs the role of Contanze with equal character frivolity as the counterpart to Hirshfield. She transforms through the arch of her character as the Mozarts come upon harder financial times. Though Contanze might appear a light-hearted flirt at times, she demonstrates strength and dedication to her dying husband.

As Salieri grows more repulsed by Mozart’s nature, Mozart turns on Salieri, criticizing the lack of creativity in his composition. Yet, Salieri confides to the audience that he stands in awe of his competitor’s work. Salieri resentfully turns away from his God because he feels betrayed. Slowly, he works on Mozart’s demise. At the end, Salieri claims that he killed Mozart. He knows that Mozart’s works will remain immortal. The play ends with a dramatic finale.

I admired the detailed costume design of Patricia Polen. She defines each character accordingly. Mozart’s jackets tended to be gilded. The emperor’s outfit had a sharp navy blue with detailed gold decorations. Constanze’s pink dress was adorned with striped bows and matching striped ruffles around the bodice. Polen’s craft deserves a nomination for best costume design in local awards.

I appreciated the historic references in the play. I enjoyed listening to the different pieces of Mozart as Salieri reads his compositions and describes the movements. Although the play does not intend to detail Mozart’s life, it did enhance my appreciation for his music.

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