by Terrance Mc Arthur
Wolfgang Amadeus Mozart. Antonio Salieri. Two musicians of the 1700s. Mozart was a creative genius, an immortal composer whose works are treasured, centuries after his death. The main reasons Salieri is known today are his claims that he killed Mozart, and Peter Shaffer’s 1979 play Amadeus, which is now playing at the Good Company Players’ 2nd Space Theatre through February 18.
Peter Shaffer’s play reached Broadway in 1980, and became an Oscar Best-Picture-winner as a 1984 film. His other works included Equus.
The aging Salieri (Mark Standriff) decides to tell his story to an audience of ghosts—the dead and the not yet born. The court composer had piously devoted his life to music, but when he sees the talent of God in Mozart (Nico J. Diviccaro), he finds the young man crude, vulgar, and infantile. Angry with God for giving the talent he desires to an unworthy person, Salieri undermines Mozart’s career while professing friendship.
Standriff, who played Thomas More in A Man for All Seasons and Major-General Stanley in The Pirates of Penzance, is the model of a modern major character. His Salieri (in the shoes of Paul Scofield, Frank Finlay, Ian McKellen, Frank Langella, and David Birney) is pompous, sly, self-important, filled with righteous anger, and fascinating. He is friendly in deceit, honest in his duplicity, and looks a lot like E. G. Marshall.Divicarro makes an impressive GCP debut as a towering talent with a revolting, foul-mouthed attitude. He prowls, pleads, and promises like a spoiled child who is told he is cute and always gets what he wants. (Tim Curry, Mark Hamill, and Neil Patrick Harris have played the role.). He pairs a Gen-Z work ethic with a compulsive mania for composing. His prideful confidence alienates the establishment represented by Salieri.
Alexis Avitia, as Constanze Weber who becomes Constanze Mozart and bears the composer’s children, evolves from a silly girl-child trading naughty-naughty games with him to a strong figure when faced with Salieri’s evil disdain. At first, she seems a fluff-muffin, but she becomes a flint-edged dealer and manager by play’s end.Ellie Campbell is all frostiness as Salieri’s wife, pale and remote in black. Brooke Aiello is a giggling, gossamer goddess as Katherina Cavalieri, a famed soprano who becomes a weaponized, sought-after prize, Salieri making her his mistress to spite Mozart.
Emperor Joseph II is portrayed by Jacob Cook as a man of great power and little brain, finishing thoughts that have fizzled before fruition with a dismissive gesture and cliché. Casey Ballard and R. L. Preheim breeze along as a pair of Venticelli (“Little Winds”) who spread rumors and gossip like eighteenth-century influencers. JJ Pestano, Ken Stocks, and Joel Gurss spend much time being disapproving of Mozart as officials of the Empire.
Ginger Kay Lewis Reed strikes again, creating a cavalcade of costumes that amplify characters and reflect their station in life (and changes therein). David Pierce’s set background proves a Rorschach test for audience members who argue over what animals the blotches on the wall represent. Terry Lewis was very busy—coordinating the music, coaching dialects, and playing the harpsichord—while Haylie Weakley works as Sound Operator for the production. Music is a major element in the plot, just as it was a major part of the lives of Mozart and Salieri.
J. Daniel Herring has always been a director who seeks a challenge. Amadeus is a most-challenging play, and he tackles the chess-like choreography of a play told by an unreliable narrator, leading the audience to like unlikeable characters.
This is strong theatre (not for children) as mediocrity does battle with genius. Be prepared to deal with uncomfortable questions.
The 2nd Space Theatre is at 928 E. Olive Ave, in Fresno. For tickets and further information, contact www.gcplayers.com, or call (559) 266-9494.
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