![CREDIT: Kat Laine] From left, Michael Liebhauser as Wolfgang Amadeus Mozart and Alison Russo as his wife, Constanze, in 'Amadeus.'](https://warwickpost.com/wp-content/uploads/2024/11/Gamm-Amadeus-2.2.jpg)
![CREDIT: Kat Laine] From left, Steve Kidd as Salieri, Liebhauser as Wolfgang Amadeus Mozart in 'Amadeus,' which examines the rivalry between the two artists.](https://warwickpost.com/wp-content/uploads/2024/11/Gamm-Amadeus-6.2-336x306.jpg)
“Amadeus” won the Tony Award for Best Play in 1981 and was adapted into a highly praised feature film in 1984.
The story takes place in Vienna from 1781 through 1791. Classical composer Antonio Salieri becomes resentful of the success and critical acclaim of Wolfgang Amadeus Mozart.
Salieri is first seen in 1823 as a broken and embittered man. He proclaims himself “the patron saint of mediocrity” and claims to have murdered Mozart. Did he?
Steve Kidd (“Hangmen”) is Salieri, the court composer for Emperor Joseph II (Casey Seymour Kim). His work is respected but not necessarily beloved. He is a serious man and has a deep affection for music.
Along comes Mozart (Michael Liebhauser), a young upstart prone to making crude sexual references. Mozart has no sense of decorum or self-control at all. Someone observes that he makes a lot of enemies by the brashness of his personality.
No one doubts Mozart’s brilliance. He is able to whip up one electrifying composition after another. Salieri is mortified by Mozart’s newfound popularity while being appalled by his vulgarity. In one of the key moments in the play, Salieri notes that he descended from legends and has produced mediocrity while Mozart descended from a meager upbringing and has produced masterpieces.
Ironically, Mozart’s success has not resulted in personal wealth. Mozart has a wife, Constanze (wonderfully played by Alison Russo) and child he is unable to provide for. Salieri teaches several students while Mozart only has a handful.
Salieri wins the trust of Mozart although his motives are anything but pure.
Director Tony Estrella (“A Streetcar Named Desire”), with the assistance of set designer Jessica Hill Kidd, costume designer Mikayla Reid, and pianist/musical director Judith Lynn Stillman, has crafted a consistently engaging and fast-paced show.
Kidd, a Gamm veteran, creates a richly textured portrait of a man on the verge of madness. Salieri envys Mozart while also lamenting his own artistry. He believes God is punishing him in some way for not creating music which people can embrace.
Liebhauser portrays Mozart’s eccentricities with an impish glee. He engages in juvenile behavior and offends others with his crassness, but also shows deep insecurity and inner torment during a climactic moment with Salieri, his unknown enemy masquerading as a friend.
The tragedy of “Amadeus” is due to one man’s willingness to destroy another man’s life because of his own artistic shortcomings. Shaffer captures that feeling of self-loathing in an impassioned closing monologue by Salieri.
I have no idea if the real Mozart was as daffy as the one portrayed here. Many of our greatest artists have endured unimaginable pain in order to create unforgettable works of art. They have paid a steep price for the ability to write a song, or paint a painting, or to sing and dance for the pleasure of audiences.
“Amadeus” celebrates creativity and also asks us to take a deeper look into ourselves: what drives us, what haunts us, what fulfills us, and what we will do to find our own happiness. Salieri knew Mozart could never truly die because his music would last forever. This show honors all the great artists for the work they share with the world.
Amadeus runs through Dec. 7 at The Gamm Theatre, 1245 Jefferson Blvd, Warwick. Run time is 2 hours, 45 minutes with intermission. For tickets, call 401-723-4266 or visit thegammtheatre.org.
Author: Joe Siegel
Joe Siegel is a regular contributing writer for WarwickPost.com. His reporting has appeared in The Sun Chronicle in Attleboro and EDGE.
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