The two questions to ponder for the evening are “What is genius?” and “Is genius innate or inspired?” It is with pleasure that we welcome you to this performance of Amadeus. In all, Amadeus represents a fine effort and is worth the price of admission. In the end, it is easy to think that this script, which Shaffer has adjusted several times to suit his own sense of artistic perfection, has “too many notes.” At just over three hours, it runs just a bit long. Thankfully these interludes are brief and not enough to mar the enjoyment of the production as a whole.
In a few scenes, however, the volume and intensity of the background vocal and instrumental performances overpower and all but drown out the dialogue, making it difficult to understand. The orchestra provides a first-rate musical background not often found in community theatre productions. The interesting use of screens that provide both rear projection and ad hoc show curtain/scrim are not as well utilized as they might be.ĭan Sitomer’s musical direction provides for an excellent opportunity to listen to Mozart’s music throughout the play. The background slideshow proves to be a scene-stealer, with often abrupt and distracting changes rather than smooth transitions, especially at the start of the production. There are times, though, when the cleverness of the set design is outstripped by the technology used to implement it. The set is sparse and often filled with action. Curt Somers, the director, makes good use of the space he designed, bringing the “ghosts” in the audience into the action of the play. Some of the design aspects work quite well. Substantial effort has been put into converting the Greenbelt Arts Center’s black box to a hybrid combination of proscenium and two-sided thrust, bringing much of the action in to the audience. This highly ambitious community theatre production depends heavily on its talented cast, and often succeeds. Sandy Irving (Baron Von Swieten) and Joseph Mariano (Emperor Franz Joseph), Erica Drezek and Jenna Jones (the Venticelli) add fine comic touches. Together, Brewster-Geiss & Gleichman’s portrayals help carry the production, along with standout vocal performances by Astrid Marshall (Regina Della Notte), Kate Jackman (Susanna.Cherubino/Papagena), Rachel Sitomer (Katherina Cavalieri), and John Turner (Figaro). The duel between these two adversaries becomes the meat of the play. Amadeus, played by Zachary Brewster-Geiss is as manic and vulgar as he is brilliant.
Murray Abraham’s Salieri in the film version), is the soul of mediocrity.
Enveloped in God’s gift of understanding, Antonio Salieri believes he can hear God in the perfect music produced by Wolfgang Amadeus Mozart, the “giggling dirty-minded” prodigy he dubs “the creature.” His jealousy consumes him and makes him believe he is ultimately responsible for causing the demise of his rival.Īntonio Salieri, as portrayed by Norm Gleichman (who bears a striking resemblance to F. Most of the action takes place in Salieri’s mind, carrying on largely through flashbacks and storytelling. Shaffer then adapted the play for a film released in 1984.
Peter Shaffer was inspired by Mozart and Salieri, a short play by Aleksandr Pushkin and an opera of the same name by Nikolai Rimsky-Korsakov. Amadeus is a is a stage play written in 1979 by Peter Shaffer, loosely based on the lives of the composers Wolfgang Amadeus Mozart and Antonio Salieri.
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