“go and see this show any way you can…..Every element of this production works, from the direction, movement, costumes, lights and set to the musical direction, opera and actors.“
Suzanne Mackay
5 /5 stars
Firstly, go and see this show any way you can, it’s truely magnificent.
For Amadeus, the Sydney Opera House Concert Hall has been transformed into a theatre space which rivals the best and with a one of a kind view. The space is utilised to perfection, a simple set with a series of geometric prosceniums moving upstage, drawing our eyes to a black framed future. A small piano on a revolve and high backed chair the only things on stage, the simplicity is poetic in itself and has the added bonus in that it doesn’t overwhelm the performances, rather it enhances them.
The costumes are colourful, flamboyant in an eclectic style with just a nod to the Classical Period of Mozart. The fabrics are bright, modern and shiny and wouldn’t be out of place at a private school formal, the patterns reminiscent of Valentino’s boldest offerings. Yet they work; subtle additions are made as the characters rise in stature and taken away as they fall, the fabric and patterns beautifully indicating character while also providing colour and texture to the simple set.
The main drawcard for the production is of course Michael Sheen, and his performance of Salieri is perfect in style and intensity and as the performance goes on, his focus and energy engages to the point where you are transported completely and forget it’s a performance to be analysed. The entire cast match this focus and work together seamlessly and although Sheen’s Salieri is at the centre of the story, all characters hold their part of the stage. Lily Balatincz’s Constanze Weber is absolutely delightful with a perfect comedic timing which enhances the tragedy rather than detracts from it. Rahel Romahn as Wolfgang Amadeus Mozart is compelling to say the least. He pitches the comedy and pathos at just the right levels and performs with emotional depths enough to fill the concert hall and match his superstar antagonist, but without overwhelming the ensemble.
The choice to present the music live and on stage provided another layer to the rich Amadeus tapestry. Having the musicians and opera performers on stage as part of the action that propels the story, allows us an insight into what is driving Salieri to such extremes. Peter Shaffer wrote Amadeus as a stage play but this production brings the music to the forefront, which works brilliantly. Sarah-Grace Williams conducts the orchestra with energy and passion while fusing the music into the story seamlessly, and the decision to present the operas upstage elevates them both literally and metaphorically, so we experience them through the minds of the two rival composers.
Every element of this production works, from the direction, movement, costumes, lights and set to the musical direction, opera and actors. The production is deceptive in its simplicity, no element overwhelms another and everybody makes what they do seem easy but take my word for it, this is a production of masters who excel at what they do. In fact, don’t take my word for it, go and see this show any way you can!
Suzanne Mackay, Theatre Now
Photo Credit: Daniel Boud
