A play by Peter Schaffer - Directed by Brian Cliffe

March 10^th to March 15^th 2008

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Synopsis

WOLFGANG AMADEUS MOZART: Musical genius, dazzling, childlike, bufoon - favoured by God..

ANTONIO SALIERI: Musical mediocraty, lacklustre, devout, gentleman - murderer?

Peter Sscaffer's controversial award-winning drama, set amidst the opulance of 18th century Austria, tells Mozarts story from the point of view of Antonio Salari, the exalted court composer of the time until the arrival of young Wolfgang Amadeus. Tortured by what he sees and hears, obsessed by the conflict between his own mediocrity and Mozart's vulgar genius, Salieri sets out to destroy the man he sees as God's favoured instrument on Earth.

This exhilarating play, often wickedly funny and resounding with Mozart's sublime music (and that of Salieri's) is the ultimate thriller.

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Cast (in order of appearance)

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Production Team

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Setting

The action takes place in Vienna in November 1823 and, in recall, the decade 1781 to 1791 

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Acknowledgements:

The director would like to thank:

My thanks go to all who have in any way helped with this production, to my most able and dedicated Assistant Director and to all the cast for their hard work and total commitment and in particular John Elliot for mastering the enormous role of Salieri.  However, the professional ability and resourcefulness of the backstage team was crucial to this production.  The Wardrobe and Wig Department have worked tirelessly, as have the Props. Department and the Lighting and Sound designers and operators.  Their contributions have been paramount and their talents are to be applauded.

 I would also like to thank Gainsborough Old Hall for their permission for the photo shoot.

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Who's who.........

The cast in rehearsals

Reviews

Louth Leader - On-line review HERE

Grimsby Evening Telegraph - On-line review HERE

Compass FM

Amadeus
Louth Playgoers Riverhead Theatre

If you should be tempted to venture forth on a voyage of discovery into the life of child prodigy Amadeus Mozart then do not be alarmed to discover that, as the play opens, the director has cast you in a role. This is not a nightmare scenario, for those of us in the audience must play the role of ghosts of the future. We are fortunate that unlike some of the actors, we need not struggle to deliver our lines for ours is a non-speaking part. If only that had been grasped by the four ladies seated behind me on opening night who, for some reason, were intent on sustaining an intermittent conversation throughout the performance; bless them, they probably don’t get out too often and thought they were watching television!

There is, however, a nightmare scenario on stage. It is in the mind of Antonio Salieri, Court Composer to Emperor Joseph ll of Austria in the latter years of the 18th century. Salieri, consumed by overwhelming envy for the talent that Mozart possesses, embarks on a mission he believes inspired by God, to thwart Mozart’s progression, ultimately leading to his destruction. Yet in doing so, Salieri must acknowledge the seed of mediocrity within him and recognise that combined with jealous, it is like a cancerous growth that leads to his own destruction. A story with a moral for this is indeed a story and not a factual portrayal of the life and times of Mozart even though you will discover grains of truth.

The Playgoers are renowned for their stage sets and yet in this production Director Brian Cliffe has opted for a bare stage with changing but simple props to support the story. The only element of panache is the costumes, which are stunning and reflective of the time. Moreover, in this he has made the right choice, nothing must detract from the beautifully written narrative, as this requires ones full attention.

This is a brave choice for the Playgoers and will not be to everyone’s liking; it is not light entertainment although look for it and you will find humour hidden within. However, it is entertaining and that is in no small part due to the sterling performance delivered by John Elliot as Salieri who dominates the stage throughout the entire production and seduces us into his tortured mind. Meanwhile Luke Moulding introduces us to a childlike Mozart, even in adulthood, and we join him on a thoroughly convincing journey from the highs of aspiration to the lows of despair. They are aided by a strong supporting cast including Poppy Rhodes as Mozart’s wife Constanze, who though from Vienna is interestingly directed at times, to deliver her lines as though from some London borough. Finally, there is the entertaining duo of Peter Jackson and Jared Rogers as The Venticelli who engage in some delightful verbal swordplay.

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Louth Target

Controversial play brings genius of Mozart to life

The role of Salieri in Amadeus by Peter Shaffer must be one of the most demanding parts ever tackled by a Louth Playgoers actor. On the first night of Brian Cliffe’s production,  running all this week at the Riverhead Theatre, John Elliot won the unbounded admiration of the audience for proving more than equal to those demands.
 
On stage not just for the whole play but even as the audience comes in, he has not only the essential stamina, the line-learning capacity, the presence and the delivery to hold our attention for what is in effect a two-hour confession, travelling an age range from his early thirties to dotage. More importantly, he has the intelligence (helped by his own musical talent as pianist and choral society member) and understanding, to make clear exactly what Salieri is about in his deliberate destruction of the supremely gifted but socially hopeless, filthy-mouthed Mozart. It is much more than envy. It is a sense of betrayal by God himself that He should have made an obscene permanent adolescent a vessel of music which Salieri alone realises is truly divine -  a divinity which shows his own work as mere mediocrity despite his courtly success.

Brian Cliffe, using a bare stage with furniture brought on as required, captures the humour of the play, in the caperings of Mozart and his wife Constanze and its satire of the Vienna Court. But Brian also builds the drama to an intensely moving climax in the final meeting of Salieri and Mozart and Wolfgang’s dying reconciliation with Constanze.

Luke Moulding, a young actor who has made great strides in the couple of years since I saw him last, makes his full contribution to the humour and drama. Also a talented musician, who recorded the piano pieces for the play, Luke captures the weird combination of wild child and passionate genius, disintegrating in a world he does not understand.

Poppy Rhodes , who is also assistant director, is the perfect match as Constanze, giving us her long-suffering courage as well as her uninhibited sauciness.

Paddy McCree is an affably thick emperor  who loves music as long as it doesn’t have too many notes. John Young, Neil Ward and Mike Broster are suitably pompous as court officials totally lacking in Salieri’s apprecation of how unprecedented Mozart’s music is; Jared Rogers and Peter Jackson are lively as Salieri’s gossip collectors.

All the cast are transformed by the magnificent period costumes produced by the very skilful and hard working wardrobe team of Christine Maltman, Barbara Vickers and Kay Rutherford-Doak, with Sue Soper managing the splendid wigs.

Review by Patrick Carnwath

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This week at Riverhead Theatre, Peter Shaffer's Amadeus transports us back to the royal court of 18th century Vienna, where we can sample a rich slice of opulence - laced with humour, intrigue, passion and revenge.

Shaffer has used his own superb brand of dramatic licence, to merge fiction with truth in this riveting period drama, based on the extraordinary life of Wolfgang Amadeus Mozart.

John Elliot's commanding performance as ambitious court composer and narrator of the piece, Antonio Salieri, reflects both gravitas and wicked humour in the weight of his words. He makes full use of his wonderfully rich voice and range of expressions to engage with the audience, slipping seamlessly back and forth from youth to old age to recount the dark tale of Mozart's downfall and his part in it.

Is this a confession? A cry for absolution? Is it true that he murdered the gifted young composer? By working to destroy his rival, Salieri manages to turn Mozart's remarkable musical gift from blessing into damnation - but he has seemingly overlooked one thing. The man may be dead, but he lives on through his music!

Luke Moulding's inspired portrayal captures each facet of the capricious young Mozart's character – and there are many. He plays with great conviction a whole range of emotions as boyish enthusiasm turns to childish petulance, and abominable rudeness to lust, love, frustration, despair and, finally, fevered madness.
Poppy Rhodes makes the role of Constanze her own and endears the audience from the start. She injects warmth and energy into the part of the young coquette cavorting riotously with her husband-to-be. The chemistry between them evolves as Constanze's joie de vivre turns to despondency, and later to tenderness for the sick young genius she loves. To her credit, Poppy also assisted Director Brian Cliffe in the production of this play.

The part of the pompous Emperor Joseph II is portrayed with playful humour and easy economy by Paddy McCree, who is always a pleasure to hear and to watch on stage.

Other members of the 16 strong cast all gave sound performances and the whole production was enhanced by some of the most elegant costumes and wigs to grace the stage at Riverhead Theatre, or indeed any other. Chris Maltman has done an excellent job providing costumes from the Playgoers' own wardrobe department and sourcing various items from professional theatrical costumiers, some of which have graced the stage at the Royal Opera House.

The exquisite wigs are supplied and dressed by professional wig maker Sue Soper, who has provided the same service for many a famous performer during her long career.

In contrast the set is minimal, for dramatic visual impact, and it is further enhanced by the creative use of lighting, carefully chosen props and, of course the glorious music of Mozart.