Cleveland Play House’s ‘Amadeus’ is music to the eyes and ears
You have to feel a bit of compassion for Antonio Salieri (1750-1825). He was born in Legnago, south of Verona, in the Republic of Venice. He spent most of his notable professional life as a composer, director of the Italian opera by the Habsburg Court, Austrian Imperial Kapellmeister (Master of the Chapel Choir) and teacher for Franz Liszt, Franz Schubert, Ludwig van Beethoven, Anton Eber, Johann Nepomuk Hummel and Franz Xaver Wolfgang Mozart (Wolfgang’s son). He wrote operas in three languages (Italian, German and French) for opera houses in Paris, Rome and Venice with his dramatic works performed throughout Europe during his lifetime.
Salieri’s works eventually disappeared between 1800 and 1868 until the late 20th century when Peter Shaffer’s play “Amadeus” was produced in 1979 (a 1984 film version soon followed). In this work, the rumors following Wolfgang Amadeus Mozart’s death at 35 are revived with thoughts that Salieri has poisoned the younger composer out of jealousy which later drove him mad. While the play and movie “Amadeus” focuses primarily on the character Salieri with Mozart in a more modest role Antonio still plays second fiddle (or second piano forte if you will) to his protege. The man simply cannot catch a break.
As for the myths and rumors concerning Mozart’s death they prove to be flawed as there was no indication of poisoning but researchers have suggested more than a hundred possible causes for Mozart’s demise ranging from rheumatic fever, streptococcal infection, trichinosis, influenza, mercury poisoning and kidney failure. In all probability his death was caused by a combination of alcohol abuse and poor living conditions.
Another myth is that he was buried in a communal pauper’s grave but in reality was interred in what is termed a “common grave” which refers to neither a communal grave nor a pauper’s grave but simply a grave of a common person not of the aristocracy. Records of the time indicate that his body was sealed in a wooden coffin and buried in Vienna’s St. Marx Cemetery in a plot along with 4-5 other people with a wooden marker used to identify the grave. This was standard practice at the time for middle income families. It was organized and dignified.
These common graves were subject to excavation after ten years whereas aristocratic graves were not. Although his funeral had few in attendence (which was normal for the times) memorial services and concerts in Vienna and Prague were well attended. It is also noted that there was an unprecedented wave of enthusiasm for his works after his death. Demand for his works continued to provide a more than decent income for his wife and surviving children. Thus, for what it is worth, there is a grave marker currently in place but no one is sure if it marks the true location of the composer’s final resting place.
As for the Cleveland Play House production of “Amadeus” it follows true to the original play and movie...warts and all. Price Waldman as Antonio Salieri is superb in the role of the suspect teacher ranging from a man in his 70s back to his mid life then again to his 70s and after a suicide attempt to slit his throat. His mannerisms and voice are spot on. Will Blum as Mozart is also very equal to the task with his man/child characteristics (fart jokes abound) and his brilliant composition style of inner visualization before putting pen to paper. Madeline Calais-King as Constanze Weber (later Mozart) is a perfect match to the precocious writer of music. Steve Marvel as Joseph II is another delight as the royal personage and Mozart’s sponsor. His tag line is infectious. The entire cast works very smoothly together to bring the two hour show together.
Regina Garcia is the scenic designer who uses opulent flooring, chandeliers, a piano forte and various period pieces of furniture to set the mood. Howard Tsvi Kaplan does a remarkable job dressing the various actors in period pieces (some with numerous changes of costume as the play progresses). Jason Fassl handles the lighting making it bright and airy and Barry G. Funderburg excels in the sound design with all of the mic’d actors being clearly understood throughout the play. Roxanne De Luna gets a mention due to the extraordinary period wigs and hair designs. The production is directed superbly by Laura Gordon who keeps the action moving along nicely.
If you are a stickler for truth in theater this may not be a work you wish to witness. It follows to the letter the same dramatic flaws, innuendos and misrepresentations of the original 1979 play and 1984 movie. Do, however, see it for the superb acting by all members of the cast. It is an intriguing “tale of madness, malice and music” that will leave you thoroughly entertained.
The Cleveland Play House production of “Amadeus” will be on stage in the Outcalt Theatre at Playhouse Square through April 28, 2024. For more information and to purchase tickets go to https://www.clevelandplayhouse.com/ or call (216) 241-6000.