A couple seated behind me were having a discussion during the intermission. “But why isn’t this play called ‘Wolfgang’ or ‘Mozart’?” the woman asked. “Why ‘Amadeus,’ his middle name?”
The lady missed an important plot point-that the name Amadeus means “Loved by God.” When confronted with the limitations of his own mediocre talent, Antonio Salieri, Mozart’s nemesis, believes God has cheated him, while a vulgar, undeserving brat seems to possess divinely inspired musical gifts.
Village Players’ new production of Peter Schaffer’s hit 1979 play Amadeus is tightly staged by Doug Long with a large and able cast of 14. This gripping though somewhat long-winded drama is not a musical, yet it’s often underscored with music by the prolific and influential classical composer who died penniless at age 35.
Amadeus is a work of imagination based on historical gossip that intensely envious Salieri actually poisoned Mozart. This story has now been mostly discredited, but it provides a fascinating character study of revenge, illustrating the destructive conflict between genius and jealousy.
Salieri (1750-1825) is a hardworking, competent, but mediocre 18th-century Viennese court composer, understandably furious as he sees his talent eclipsed by a foul-mouthed, ill-mannered upstart who seems to effortlessly compose opera in his head. Mozart (1756-1791) considers the older court composer a pompous stuffed shirt, not a rival. But Salieri watches his life’s work begin to fade into obscurity while Mozart, his social inferior, is fast becoming a dazzling new superstar.
Mozart may be the title character yet Salieri is the drama’s dominant presence.
Lawrence Garner is incredibly intense as Salieri, impressively commanding the stage for 2 1/2 hours. Though Salieri is outwardly indifferent to the young musician, he is constantly scheming. He works feverishly at his own music, yet his obsessive jealousy and destructive envy far surpass his talent. Though he is pompous and condescending, we do feel sorry for Salieri.
The drama is told in flashback as a series of virtual deathbed confessions by elderly Salieri, now confined in a public insane asylum. The play shifts 40 years, back and forth.
Kevin Duvall is impressive as Mozart but, as mentioned, he’s not the central character. Yet Duvall brings great quirky charm to the role, which demands intense physical dexterity. The young composer’s hyper behavior includes such frenetic feats as jumping onto furniture and taking pratfalls. Duvall makes the character believable, however. He’s not just some clichéd mad genius. He is especially strong as he transforms from an annoying idiot savant into a very dark and troubled soul.
Elaine Ivy Harris seems perfect as Constanze, Mozart’s sexy, empty-headed but doting wife.
John Rushing is Emperor Joseph II, a regal yet inarticulate patron of the arts. He’s convinced one of Mozart’s new works has “too many notes.” (Rushing is also assistant director.)
Salieri’s paid informants are played by Nathan Sanders and Michael John Krystosek.
The large ensemble does well, sometimes doubling in supporting roles. It’s fun to see longtime Village Players’ actor James Leonard on the boards again, this time playing an arrogant baron in the Viennese court.
I’ve heard that playwright Schaffer at some point revised his play. Salieri does seem less diabolical and more introspective than I remembered. Schaffer’s drama also now seems somewhat overwritten and repetitive. A few of Salieri’s talky monologues keep hammering the same points. We get it. You’re angry about being righteous and hardworking yet doomed to mediocrity by a mocking God.
The lavish costumes are by Gintare Jaloveckaite. The men’s tailored, seemingly “upholstered” waistcoats are especially impressive.
John List, the sound designer, seamlessly incorporates some of Mozart’s most glorious music into the drama. Duvall “syncs” his performances at a mock-up piano. Cassandra Cushman also nicely fakes a convincing operatic performance.
Andrew Glasenhardt designed the artful lighting.
Some may remember a Village Players production of Amadeus about 25 years ago, mounted just after they occupied their “new” theater on Madison Street. The design featured a stage elaborately and surrealistically spun with hundreds of spirals of Saran Wrap, creating a stunning, other-worldly look, much in contrast with the 18th-century wigs and brocades. This time Rick Sandoval’s set is more utilitarian-simple yet serviceable – accented periodically by large projections of sheet music.
Doug Deuchler is a retired teacher/school librarian who, when he isn’t reviewing local theater for Wednesday Journal, is a stand-up comic, tour guide/docent and author of several books about Oak Park and surrounding communities.
