Peter Shaffer's theatrical classic Amadeus has enthralled audiences through a tale of jealousy, madness and the struggle for redemption. Written in 1979 and adapted to film in 1984-where it won eight Academy Awards-the original play has proven to be as timeless as any of Mozart's operas. The play is now being performed by the PlayMakers Repertory Company.
Presented as a flashback by the lead character/narrator Antonio Salieri, played by Ray Dooley, the story begins in the winter of 1823 where an aged Salieri has descended into mental instability. Crying out "Mozart!," Salieri opens his performance by bemoaning his guilt and his past demons. For the enjoyment of the audience, these ghosts are wonderfully presented as literal shadowy figures haunting Salieri from backstage. As the scene unfolds, their number increases, a feature that becomes striking every time they hiss "Salieri!" and are momentarily lit up. This visual sets the tone of the play, one that highlights Salieri's desperate urgency to vindicate himself against Mozart in his own mind.
Taking the stage with an almost sardonic sense of humor that persists, the old man begins his narrative by invoking the ghosts of the future who are surprisingly represented by the audience. Upon achieving that objective-designated by the lighting of the theater-Salieri suddenly transforms into a much younger man and launches into his story. This is the first of many cuts that feel more cinematic than theatrical.
"[This play] is not strictly naturalistic," Dooley said. "[In Shaffer's writing] we are starting to see the evidence of the influence of film."
This effect further highlights the intriguing intense personal nature of Salieri's feuds. On one level the story revolves around his hatred of Mozart, but on a deeper level it explores his personal struggle against God.
"The axis of the play is Salieri's relationship with his God," the actor said. "Mozart is the means through which Salieri wages a war with God."
The universal feeling of envy, of being slighted by fate or cheated by God, is certainly explored here more so than in the film, allowing the audience to become invested in the dark passion that consumes Salieri. Juxtaposed against this, however, is the impish personality of Mozart, who is played by Vince Nappo. Mozart adds complexity to the play as he concomitantly provides comic relief and presents qualities that contrast with Salieri's more pretentious nature, all the while complementing his dry humor.
Interspersed through Salieri's struggles with Mozart and God are subplots filled with minor characters that-not surprising given the quality of Shaffer's writing-adequately fill in all the spaces and gaps necessary to make the experience complete.
The three-way relationship between Salieri, Mozart and the Emperor Joseph II is downright comical, as is the similar triangle involving the opera singer Katherina Cavalieri. In addition, the dynamic tensions between Mozart and his wife Constanze add subtle depth to the play, at times hilarious and other times pitiful.
As the story revolves around composers, the music assumes special importance to the production-and in this, Amadeus does not disappoint. The audience is exposed to several of Mozarts operas and other compositions, and there is music by Salieri incorporated as well. The music follows the angst of Salieri, is used as an instrument of humor by Mozart and is the object of worship and revelation for both.
The performances given by Dooley and Nappo will strike a cord for those who have seen the film. The similarities far outweigh the minor differences in interpretation, but rather than feeling stale, Salieri and Mozart seem like old companions rediscovered. Their personalities are well known and are predictable, but never fail to entertain. For those who have yet to see the film, the depth and liveliness these two historical figures assume on-stage is remarkable and unexpected. The raw strength of the production speaks as much to Dooley and Nappo's acting as to Shaffer's writing.
Amadeus is currently being performed at the Paul Green Theater in Chapel Hill until April 20, 2008. Ticket prices vary.
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