‘Amadeus’ a success

Press, 7 June 1982, Page 4

‘Amadeus’ a success

“Amadeus,” by Peter Shaffer, directed by Stuart Devenie for the Court Theatre. June 5 to July 10. Running time: 8 p.m. to 10.35 p.m. Reviewed by Gerrit Bahlman. "Amadeus" is a stunningly detailed production which testifies to the power of a well crafted dramatic script in the hands of a dedicated company. The best features of Simple design are interwoven with a complex lighting plot, sound effects and costuming, which is devastating in its detail. Salieri may turn in his grave at the liberties Shaffer has taken with his memory, but the opening-night audience appeared well content with this purported version of the truth. Salieri appears in a guise reminiscent of Roy Dotrice’s "Brief Lives,” ah old man, in the last phase of •his existence prepared to ’reveal all. ' Salieri was a contemporary of Wolfgang Amadeus • Mozart. He held positions of great influence in the Austrian court and enjoyed considerable renown in his day. Mozart, on the other hand, . appeared to have a penchant » for disenchanting his patrons. Proud and arrogant, with an . inability to get on with . people, Mozart achieved the .- unenviable distinction of being “kicked out on his ■ behind" by Count Hieronymous Colloredo, Archbishop of Salzburg. The Archbishop had no ear for Mozart’s - music and there can be little doubt that Mozart was not the most benign of court musicians. The play develops these

negative facets of Mozart’s character in a sympathetic way but establishes clearly a reason for Salieri's opposition. Salieri is credited with recognising Mozart's greatness but with the resentment born of envy. Mozart the libertine, with extravagant vulgar tastes, has a casual brilliance which the upright, pious Salieri can never hope to achieve. Salieri is performed by Jonathan Elsom with a riveting intensity, that dominates and shapes the entire production. Elsom’s control of the total characterisation was nothing less than brilliant. The already strong script developed tangible force under the impetus of Elsom’s delivery. Humour, pathos, empathy, and drama are elicited from the script and developed into a fulfilling portrayal that retained warmth and the sympathy of the audience. Mozart was played by Martyn Duffy with’ energy and commitment in an ingenuous. charming, vulgar, and vivacious characterisation which more than satisfied the requirements of the script. Duffy's stage presence has grown throughout his period with the Court and if “Amadeus” is any indication, his future holds great potential. Constanze,. Mozart’s wife, is played by Mary Spencer. Her performance achieved a lovely, balance between vulgarity and dignity. The contrasts between Constanze and the pomposity of the court provided much of tjie comedy that arose out of conventional! impropriety. The secondary characters

in the production were numerous and well developed. This is not surprising when the experience of the performers is taken into account. Geoffrey Heath as the Emperor Josef introduced a fine element of comedy. David Copeland. Tony Wahren. Susan Curnow, Russell Smith, Mark Trezona, Gweneth Hughes, and Gerald Lascelles made up the rest of the cast. Plaudits for the work in the production must be extended to all facets of backstage. The costumes were magnificent and testify to hours of careful hand-work. Lighting, while always impressive in the hands of Court technicians, introduced sensational effects in conjunction with Mozart's music and realisation. The sound reproduction used was notable for its accurate integration into the stage performance. The credibility gap between live and recorded sound was negligible. "Amadeus" has received some television coverage based on a Downstage production, which because of its choice of scene may deter some potential members of the audience. The scene depicted Mozart and Constanze in a sordid tussle during early courting days. It was an unfortunate choice which casts the play in a distorted light. It is a play completely in the tradition of the dramatic standard of “The Royal Hunt of the Sun." “Black Comedy,” and “Equus.” It should not be-missed. ■ •. r -