Reviewed by Tony Annicone
GAMM Theatre’s second show of their 40th season is “Amadeus” written by Peter Shaffer in 1979. It is loosely based on the lives of Wolfgang Amadeus Mozart and Antonio Salieri, later adapted into a movie in 1984. “Amadeus” was inspired by “Mozart and Salieri,” a short play by Aleksandr Pushkin, which was later adapted into an opera by Rimsky-Korsakov under the same name. “Amadeus” tells the story of Salieri, an established yet second-rate composer in the eighteenth century who has given himself to God in hopes of achieving greatness. When musical genius Mozart arrives at the Austrian court with brilliance and bathroom humor, Salieri sets out to destroy the upstart who has fouled his dreams. Salieri rejects God and vows to do everything in his power to destroy Mozart. Director Tony Estrella casts this show splendidly, giving his cast keen insight into their characters, which the audience rewards with a spontaneous standing ovation.
Tony blends the comic and dramatic moments together, obtaining the laughs and tears in all the right places. The gorgeous set is by Jessica Hill Kidd, while the fantastic 18th-century costumes are by Mikayla Reid. Especially impressive are Mozart and Constanze’s costumes. Stage manager Robin Grady keeps things running smoothly with her assistant Kelsey Emry with the constant changing from scene to scene. The splendid lighting is by Steve McLellan, and the marvelous sound is by Peter Hurowitz. The brilliant music direction is by Judith Lynn Stillman, as the ethereal music of Mozart is woven into the play as a backdrop of Salieri’s envy, and he ends up destroying not only Mozart but himself as well. Judith plays the baby grand piano splendidly and brings out the best in the vocalists, especially in The Kyrie and The Requiem. Salieri ends up being an example of jealous mediocrity, while Mozart, through his music, became immortal.
Steve Kidd plays the enormous role of Salieri and commands the stage in this role. He delivers his numerous soliloquies marvelously and is onstage for the entire show. Steve speaks directly to the audience as Salieri, moving the timeline to narrate what is happening. He first appeared as an old man in 1823, then went back in time from 1781 to 1791. Salieri wrote an opera called The Silver Bucket, which Mozart ridicules. Later, Salieri has a meltdown after Mozart’s success with Kyrie and denounces God after being a faithful Catholic for many years. Steve handles the transitions from old man to younger one with finesse and the transition from his masquerade as Mozart’s ally to his face and then as his duplicitous machinations behind his back. Steve gives a tour-de-force performance as this devious and despicable man. Salieri’s actions are vile and reprehensible. But in this show, God has the last word for Salieri, as the audience discovers. Steve mesmerizes the audience as Salieri. Bravo.
Michael Liebhauser delivers a terrific performance as Mozart, the immature, fun-loving composer. He gives a multilayered portrayal in this role of a man/child who can’t keep his mouth shut, makes fun of other characters, and can’t control his temper. Michael’s comic antics and naughty lines win him much laughter from the audience, while his descent into despair wins him their empathy and tears. Mozart wrote “Figaro” in 1786, which sent Salieri into a tailspin. “Don Giovani” after his father’s death and “Requiem” which foreshadows his own death. This role once again proves how Michael can handle both comic and dramatic aspects of this role with ease. He is brilliant as this tortured character. Alison Russo plays Mozart’s sexy wife, Constanze, excellently. She oozes a lot of sex appeal and will do anything to win her husband’s favor in court, including offering herself to Salieri. Alison handles the comic moments beautifully but also has a dramatic and emotional scene with Michael near the end of the show. This is where she declares her love for him but has to leave him for a while, returning with their newborn baby, and tragedy occurs soon thereafter.
The other talented performers do a wonderful job, too. Steven Liebhauser plays Baron Van Swieton, who inducts Mozart into the Masons but disowns him after he writes “The Magic Flute,” which reveals the secrets of the Masons. Liam Roberts plays Count Orsini Rosenberg, the pompous director of music who wants to cut the dance section out of “The Marriage of Figaro” at the urging of Salieri. Casey Seymour Kim shines as the flamboyant Emperor Joseph II, who doesn’t have a clue about musical talent at all. The Emperor was Maria Theresa’s son and Marie Antionette’s brother. Bruce Kaye plays the befuddled Count von Strack who doesn’t understand the Italians in the Vienna music circle and always wants to know what they are talking about. Emily Turtle’s voice soars as Katherine Cavalieri, one of Salieri’s top voice students. Helena Tafuri and John Cormier play Venticello 1 and 2 who are like a Greek chorus delivering news to Salieri throughout the play as well as commenting on the happenings in Vienna. They do an astounding job. So, for a phenomenal Tony Award-winning play that echos some of the duplicitous behavior in today’s society, be sure to catch “Amadeus” for a stunning look at fabulous acting, direction, and musical talent at Gamm Theatre. For tickets go to their website at gammtheatre.org or give them a call at the box office before time runs out. Tickets are selling quickly, with some sold-out performances. “Amadeus” is the must-see show of this theatre season. Tell them Tony sent you.
AMADEUS (7 November to 7 December)
GAMM Theatre, 1245 Jefferson Blvd, Warwick, RI
1(401)723-4266
