There is no doubt that classical music is Wolfgang Amadeus Mozart, whose brilliance peaked early and never faltered even as he fought off the ravages of illness that left the genius dead at 35.
Mozart’s death almost 221 years ago seems like only yesterday, which just shows you what immortality can do to the memory. And the account of the events leading to Mozart’s death by the man who became his archenemy - at least behind the young genius’ back - might not be accurate history, but it is riveting theater.
English playwright Peter Shaffer’s fascinating “Amadeus” at the Santa Paula Theater Center centers not as much on Mozart as on fellow composer Antonio Salieri. And it is a musical mystery of genius in more ways than one.
Salieri was rumored to have poisoned Mozart due to jealously that over the years had slowly turned the squeaky emotional key to Salieri’s mind and finally opened the door to insanity.
After the 1979 “Amadeus” was imported from England to Broadway, the worldwide smash hit - Mozart would no doubt be pleased as the production relies heavily on his music, the unbilled co-star that helps weave the tale together - became a 1984 hit film. Awards were showered upon the stage and later film versions.
Set in Vienna - the city of slander - in November 1823, the play concerns the mad Salieri’s recollections of the decade leading up to Mozart’s mysterious 1791 death, which prompted the historical rumor that Salieri had vindictively poisoned Mozart. The rumor is fueled by Salieri (Patrick McMahon) himself, who sees such an act as forever tying his own life and music to Mozart’s star and infinitely shared fame.
At the heart of “Amadeus” is Salieri’s pact with God to become himself a divine creator of music dedicated to divine providence, a deal he realizes is broken with the appearance - a gaudy one, even for that time of fashion excesses - of the effortlessly brilliant Mozart (Brian Alexander). Salieri is horrified by Mozart’s childish nature and crude jokes that demonstrate to him that God has rejected his devotion and instead allowed such genius to be the result of random conception.
The play’s charming Venticello I (Kyle Johnson) and Venticello II (Minda Grace Ware) are indeed the “little winds” that were an integral part of all royal courts (think “TMZ” in powdered wigs) - part gossips, part chorus, gentle breezes of idle but calculated chatter that throughout the play caresses Salieri’s anger until it ignites flames of rage against Mozart and God’s betrayal.
In Salieri’s deteriorating mind he has worked too hard to rise above his poor beginnings to the status of Viennese court composer - an Italian yet! - and gain the admiration of Emperor Joseph II (Todd Andrew Ball), in spite of how musically clumsy and silly His Highness is. Salieri’s place in the court and in his own arrogant mind is secure until the appearance of Mozart, whose irritating manners and crudeness are equaled only by his musical brilliance.
Salieri composes for love of God, Mozart for the sheer love of music - whether it be opera, a symphony or a work with vocal pratfalls for a vaudeville house. And all Mozart creates musically is brilliant, beautiful and unforgettable.
Mozart does have his own demons: a father who dragged the child genius throughout Europe and still the withholder of the approval Mozart craves, the lack of income-producing assignments that he does not realize is due to Salieri’s interference, and Mozart’s own insensitivity and impulsive actions that lead slowly to his losing favor with even those in power who admire and support him.
Mozart’s seduction of Salieri’s opera singing mistress Katherina Cavalieri (Olivia Heulitt) is pushed from the mind of his wife Constanze Weber (Samantha Claire) and never crosses the mind of Salieri’s wife Theresa (Courtney Johnson), but is uppermost in the mind of Salieri, who vows to return the favor, an attempt that ends in humiliation.
There are human touches: Salieri’s love of little sweets, delicate bits he devours in the last hours of his life as he tells his tale of betrayal. There are more morsels of insight, memory and passion for music, “God’s art!” but one the heavens are not willing to let Salieri share.
McMahon’s Salieri has a great arching eyebrow and his transformation from crazed old man in a wheelchair to a bitter young one in pumps is something to behold, especially as it is sans makeup. But McMahon’s skills are so vast that as Salieri sheds the cloak and cap of old age he seems to shed the years as easily as a snake sheds its skin... and at times again wiggles back into.
The part is not an easy one: Salieri bellows, screams and weeps to such an extent that this reviewer feared for his voice, a wonderful device that McMahon plays as well as a musical instrument, down to the occasional soft pluck of sympathy his performance evokes.
“What use, after all, is man if not to teach God His lessons?” Salieri cries, realizing that every effort he has made to destroy Mozart and his genius ultimately has failed. God seems to have indeed finally smiled on Salieri... by having McMahon portray him, a towering performance.
Mozart as channeled by Alexander is the man-boy you want to spank as lustily as he loves to spank his wife; impulsive, outrageous, lacking self-control except when he sits at the instrument and the music of Mozart’s genius swells. Watching Alexander’s facial expressions and movements as he portrays Mozart’s delight when playing his own music is irresistible. Alexander is a very appealing and tragic Mozart, his own spiral of mind and spirit wonderfully and touchingly done.
One can easily see from Claire’s fine performance why Constanze was so adored by Mozart and appreciated by the audience for her at times naughty and haughty portrayal of strong devotion and fierce loyalty.
Director James Castle Stevens has done a marvelous job with this Leslie Nichols and Fred Helsel produced play, definitely a challenge that requires a deft touch and confidence in the actors.
All the supporting cast is solid, with some very fine performances by those who of course have this wonderful material to work with: John McKinley, Doug Friedlander, John McCool Bowers, Jerry Nehring, Minda Grace Ware and Kyle Johnson each add their own touches to the characters.
Special kudos to the charming ladies of the cast for their characterizations, as well as for the grace with which they wear the towering wigs (designed by Helsel and Gary Poirot), tight bodices and bustles of the time. Speaking of dress, Christina Cover Fero’s costume design is impressive - each get-up a wonderful reflection of time, place and character.
The set designed by Stevens and Travis Miller is lushly simple, delicate furniture, rich fabrics artfully draped throughout and on the backdrop that provides silhouettes of actors giving a stage within a stage touch. Gary Richardson’s lighting is excellent as usual, and Stevens took on another duty with sound design - with McMahon’s voice almost a must -wonderfully done, including recorded but realistic piano by Paul Taylor. Leticia Mattson ably stage-managed, assisted by Leslie Guiliano.
“Amadeus” is indeed a not to be missed production. Historical rumor meets a playwright’s imagination, and “Amadeus” shows that although Salieri didn’t really poison his rival for God’s blessings, there is more than one way to kill a genius, even it takes years... and Salieri’s ultimate defeat is that no one will ever kill the music of Mozart.
“Amadeus” runs through March 27 at the Santa Paula Theater Center, 125 S. Seventh Street. Performances are 8 p.m. Fridays and Saturdays, 2:30 p.m. Sundays. Tickets are $18 general admission, $15 seniors and students, and $12 for children. Call 525-4645 or visit santapaulatheatercenter.org.
