The Lamb’s Players Theatre production of Peter Shaffer’s 1980 Broadway play, “Amadeus,” proves how faulty one’s memory can be, especially considering the later film, which opens up the play. I swear I saw the much simpler play on Broadway after Tom Hulce took over the title role; but oddly, I have little recollection of anything other than the 1984 film and his overwhelming performance as the scatological composer, something that shocked many at the time.
How could our precious, perfect, bewigged prodigy, who penned hundreds of brilliant, well-organized and cerebral works over his brief life (Jan. 27, 1756 to Dec. 5, 1791) be an oversexed, juvenile adult from whose mouth poured gutter language? Surely, Shaffer went too far.
Actually, Shaffer’s play opened up new worlds of scholarship, according to Stanley Walens, a brilliant psychological anthropologist and cultural historian who presented the evening Mainly Mozart lecture the same day I attended the matinee, Sunday, June 11. Renewed interest in Mozart was engendered by the play, which inspired grad students to delve deeper. It’s likely that the real Mozart lies somewhere between Shaffer’s reprobate and our idealized Amadeus, which translates “Beloved of God.”
Where Hulce and his braying Wolfie dominated the film, rival composer Salieri dominates the play. Where it is apparent in the film that Salieri, played by F. Murray Abraham, poisoned Mozart, the play ” especially in its slightly reworked version for the 2000 Broadway revival ” makes it obvious that he did not. Salieri’s real quarrel is with God and not with Mozart, whose success court composer Salieri subverts in every way. Salieri is poisoned by envy and anger. Who cannot relate to that?
Genius triumphs, leaving the lesser composer broken and contrite. In reality, Salieri’s gift to posterity lay in the legion of composers he taught, among them Ludwig van Beethoven, Johann Nepomuk Hummel, Giacomo Meyerbeer and Franz Liszt.
As expected, Lamb’s “Amadeus” is well cast and brilliantly staged by Kerry Meads, who uses mannequins for some of the non-speaking roles. K.B. Mercer, Paul Maley and Greg Good play Salieri’s informants, the Venticelli, which translates “little winds.” Rick D. Meads portrays the decidedly unmusical Emperor Franz Joseph II, who famously remarked that Mozart’s opera, “The Marriage of Figaro,” had too many notes.
With a saucy air and deeply felt affection, Colleen Kollar presents a heart-breaking Constanze Weber, Mozart’s wife. In much less grating fashion than Hulce’s, Jon Lorenz portrays a convincing, conflicted Mozart; even cognoscenti present were convinced that he plays the onstage harpsichord, which Lamb’s spokesman Ed Hofmeister confirms is a dummy. G. Scott Lacy’s sound design is that good, thrilling Mozart opera-lovers with the contrition scene from “Marriage of Figaro” and snippets of the “Requiem.” Jim Chovick and Doren Elias provide fine support as German composer Von Swieten and Italian Count and court advisor Orsini-Rosenberg.
Dominating the production is the mind-boggling, touching performance at its center, that of longtime Lamb’s associate David Cochran Heath as Salieri. His fully fleshed-out portrayal as the suffering man is one for the memory book.
“Amadeus” is most decidedly not a musical, nor is it the film. It is a thrilling piece of theater extremely well done and especially appreciated by lovers of Wolfgang Amadeus Mozart and his music. Jeanne Reith’s costumes are a blast. Mike Buckley creates a simple and effective setting.
“Amadeus” continues through July 23 at Lamb’s Players Theatre, 1142 Orange Ave., Coronado. Performances at 7:30 p.m. Tuesday through Thursday; 8 p.m. Friday and Saturday; 4 p.m. Saturday; and 2 p.m. Sunday. Running time is approximately 2 hours and 40 minutes, including interval. For more information visit www.lambsplayers.org or call (619) 437-0600.
