AMADEUS
AMADEUS. By Peter Shaffer, Directed by Directed by James Dunn . Marin Shakespeare Summer Mainstage Season at Dominican University of California's Forest Meadows Amphitheatre, 50 Acaia Avenue, San Rafael, California . 415/499-4488 or http://www.marinshakespeare.org. July 12 -
JAMES DUNN + MARIN SHAKESPEARE = A WINNER
Marin Shakespeare Company Summer program wisely engaged noted director James Dunn to stage Peter Shaffer’s stunning, award winning but problematic play “Amadeus.” Amadeus, meaning “beloved of God”, refers to Wolfgang Amadeus Mozart whose short unhappy life is resurrected through his music and the words of fellow composer, his greatest antagonist, Antonio Salieri. Mozart’s music far outclassed that by Salieri who became a socially acceptable and financially secure member of
Shaffer uses the clever device of having two foppish paid gossip mongers ,Venticelli, or “Little Winds”, (Mark Robinson & Rafael Untalan) to start the ball rolling with the rumor, started by Salieri himself (William Elsman), that he murdered Mozart (Drew Hirshfeld) with poison. Elderly Salieri than leaves his wheelchair, becoming his younger self, to directly address the audience in flash backs in an attempt to explain his actions. “And now! Gracious ladies! Obliging gentlemen! I present to you – for one performance only – my last composition, entitled The Death of Mozart – or, Did I Do It?” Thus is the start of a murder mystery. Shaffer carries the direct address conceit throughout the play and Salieri makes a covenant with God that he would be His obedient servant if he is allowed to become a famous court composer.
Salieri’s admiration of young Mozart’s brilliant talent turns to chagrin when he secretly observes Mozart playing childish, sexually charged games with Constanze (Elise Youssef) whom he later weds. Chagrin evolves into astonishment, disappointment and eventually jealousy of such magnitude that Salieri hatches a diabolical plot to discredit Mozart in the eyes of the court. The prominent members of the court include Emperor Joseph II (George Maguire), Count Orsini-Rosenberg (Scott Coopwood) and Baron von Swieten (Stephen Dietz). Jealousy is further inflamed when Mozart seduces Salierie’s pupil, Katherina Cavalieri (Alexendra Matthew).
Devout Catholic Salieri breaks his covenant with God, whom he accuses of blessing Mozart with greater musical ability than his own, and increases his concerted efforts to destroy Mozart. The plot is extremely successful as Salieri masquerades as Mozart’s friend while actually depriving Mozart of paying students, and preventing Mozart’s great operas, “Figaro” and “Don Giovanni”, from becoming popular financial successes. The play ends with Salieri falsely (?) confessing to poisoning Mozart. He fails in an attempted suicide, suffering again, a final act of mediocrity.
Late in the play, one sycophant suggests to the not-too-bright Emperor Joseph that Mozart’s work contains “Too many notes.” Mozart’s replies, “The notes are just right.” With the caveat that the play is overly long, and Elsman as Salieri gives a one-dimensional performance, James Dunn’s direction and cast are just right, creating a finely meshed ensemble performance. One would hate to overuse the word “brilliant” but Drew Hirsfield is just that with his stunning acting that would make Tim Curry, who played the role on Broadway, envious. Mark Robinson and Rafael Untalan, as the Venticelli, set an exuberant tone with their intermingling lines, precise diction and stylistic flair. Elise Youssef shows great emotional range and adept physicality exuding sexual attraction. Scott Coopwood’s haughty head movements and cutting speeches creates a Count Orsini you would not want to be your enemy. Stephen Dietz plays the likeable Baron von Swieten with understated grace. Then there is George Maguire giving a top-notch performance that matches the finery of his elegant costume.
Take a cushion along to pad the wooden amphitheater benches since the running time is 2 hours and 50 minutes with intermission.
Courtesy of TheatreWorld Internet Magazine