Folgers Shakespeare Theater: Amadeus

This has been an amazing weekend for theatre.  Today's fare was Peter Shaffer's original stage version of "Amadeus".  The premise, to refresh anyone who, like me, only saw the movie and that so long ago that you don't remember much about it, is this: Antonio Salieri is an 18th century composer who has give his life to God, if God will make him famous as a composer.  His music is unimaginative and rather shitty in a "same old, same old" sort of way.  Nevertheless, he plays a good game of it and ends up in the favor and the court of Emperor Joseph II of Hapsburg.  Enter the wild child genius, Wolfgang Amadeus Mozart with his restless, towering intellect and creative abilities (and a penchant for scatological humor), and suddenly Salieri's world is flipped on its head.

What starts out as an annoyance blossoms into a rivalry that eventually causes Salieri to curse God and make it his life's mission to utterly fuck over Mozart--who is so egotistical and self-indulgent that he remains for the most part appalling unaware of the duplicity and aggressions being orchestrated by Salieri against his interests.  It should also be stated that apart from letters which suggest that Wolfgang was indeed overly fascinated by all things scatological, the heart of the story is an utter fiction.  But who the hell cares?  It's riveting!  I am so glad that I didn't remember anything from the movie apart from Timothy Hutton's maniacal laughter and the Queen of the Night aria scene from the vaudeville performance.

The production is in two acts, both of which begin and end with a practically invalid Salieri.   As he tells his tale upon what he thinks is his death-night, he transforms to his former vigor, and enter the characters from the past to re-enact the story.  The pacing is demanding.  The lead, Ian Merrill Peakes, as Salieri was enthralling.  As the lights come up, there he is sitting in a wheelchair looking every inch the dying man.  The attention to details the actor gave to every expression and range of movement was amazing.  I swear, even his skin looked sallow and brittle.  Then, in a single gesture, by simply dropping a robe and nightcap in favor of an overcoat, the actor transformed the character instantly into that 40 years young version of Salieri.  I felt a chill of excitement roll down my spine.  From that moment forward, there was never a question but that we were in the hands of a master. 

But wait, you say.  This play isn't called Salieri.  What about Mozart?  I'm glad you asked, because yes, this is as much a play about a love affair as Romeo and Juliet, and you can't tell it well unless both partners are up to the task.  Samuel Adams, as Wolfgang Amadeus mozart, absolutely was and then some.  He took on the eccentricities of the wunderkind with such conviction that he was the wunderkind.  Not a caricature or clown, but the genuine article fraught with passion, contradictions, and effortless genius and a sublime innocence.  As Peakes' performance was enthralling, Adam's was mesmerizing.  All the supporting cast filled in the open spaces with the same compelling authenticity.  Most notably Lilli Hokama as Constanza Weber and Justin Adams as Baron von Swieten.

The set was evocative and oversize speaking both to the nature of the relationship between the two men and a clear reference to bars.  The bars of the prison that Salieri imposed upon himself.  As yesterday's production of Newsies was a tour du force of choreography, Amadeus amplified the costumes.  Beautiful clothes designed by Mariah Anzaldo Hale.  I will be shocked if this production doesn't garner a slew of Helen Hayes nominations this coming spring.

At intermission I struck up a conversation with the older woman to my right.  She told me that she'd seen the original production on Broadway, and thought this one was even better.  And when the play ended and the actors came out for their bows, I did something I have never done before.  I shouted Bravo!  Bravo!  My spontaneous adulation become a chorus, a most fitting display of approval for an ensemble of performance second to none.