The National Theatre pulls out all the stops with “Amadeus,” which returns to the Olivier after 37 years.The production is a something of a memorial to playwright Peter Shaffer, who died in June aged 90. But what a raunchy, spectacular and this amusing memorial it is. Most of Shaffer’s works were staged at the National, and “Amadeus” was memorably transformed into a 1984 movie which scooped multiple Oscars.In the same way that “Othello” could be fairly retitled “Iago” after the scheming baddie, then “Amadeus” could well be called “Antonio” in honor of Salieri, who narrates the story of the relationship between the two composers.Here we have a Salieri as never seen before in Lucian Msamati (recently seen in “Ma Rainey’s Black Bottom” at the National.) It is a huge role, with lengthy soliloquies delivered immaculately and with dignity. While the court composer claims that he is not jealous, Msamati shows that underneath, he is insanely so. Mozart’s musical genius turns the ordinary into legends, whereas the Italian hack turns legends into the deeply ordinary. Salieri confesses that he is “the patron saint of mediocrity” and concludes by addressing the audience one last time: “Mediocrities everywhere... I absolve you all, amen.”Adam Gillen plays Mozart as an unofficial court jester who is too scatological to amuse the court. His music is elevating but he says “the only thing a man should elevate is his doodle.” He strikes endless poses like a naughty kid, even when ailing near death in later years, and comes across like a cross between Frank Spencer, Billy Idol and Johnny Rotten, sneering, spitting and blowing raspberries. By contrast, the fragments of his work are sublime, almost tear-inducing for both audience and Salieri - who declares it is music he has never heard before, full of “unfulfillable longing” and “the voice of God.” The 20-strong Southbank Sinfonia does a fine job, moving around the stage, playing violins on their knees or even lying down.Mozart performs one of Salieri’s pedestrian pieces by ear and then immediately starts improving it, to the horror of his older rival who is soon working out ways to impoverish, besmirch and even kill him. Like Iago, he lies unashamedly, presenting himself as Mozart’s best friend. Mozart is his own worst enemy anyway, seducing all his female pupils – and leading Salieri into sexual temptation himself with a soprano star - drinking, spending too freely, and upsetting just about everyone likely to help him.The work is studded with great lines: Emperor Joseph II complains that Mozart’s work has “too many notes”; a court official declares “Italian is the proper language for opera. All educated people agree on that.”The Michael Longhurst full-on production is excellent, with no expense spared and only a few confusing modern touches. We see contemporary dress and cellphones alongside the period clothes, and there is an occasional stylized scene alongside the naturalistic. But these as minor points and as a whole this is a triumph. While the plot builds on reality – did Salieri kill Mozart, did he intend to pass off the “Requiem” as his own – it makes for an extrodinary story of how an “obscene child” created “The Magic Flute,” “Don Giovanni” and more. Mozart dies, buried in a pauper’s mass grave but with future fame ensured; Salieri is in an asylum, left to confess only his infamy.“Amadeus” is running at the Olivier, Royal National Theatre, with performances up to February 2 2017 selling out but day tickets available. The play will be broadcast by NT Live on February 2 to more than 2,000 venues in 55 countries including 680 screens around the UK. Information: NTLive.com
↧