The Triangle

Issue date: 10/5/07 Section: Arts & Entertainment

The cast and crew all do well to put together a wonderful rendition of Amadeus, a take on the life and death of Wolfgang Amadeus Mozart.

Putting the "right" in playwright, Peter Shaffer after his recent revival on the London and Broadway stage has delivered a revised version of his already acclaimed play Amadeus. Originally produced in 1979, many may be more familiar with the 1984 film version which sparked a boon of interest in Mozart's music and even composer and cruel nemesis Antonio Salieri. Now in a provocative, mostly successful, cerebral evening with stunning visuals, the Wilma Theater brings to life Peter Shaffer's latest rewrites.

While titled Amadeus, the focus and framework of the play revolves around Salieri, a conscientious musician who begins as a firm believer that his good behavior will be rewarded by God bestowing talent and success upon him. He is quickly corrupted when confronted with former child prodigy, potty-mouth and much more talented Mozart. Thus begins a deeply personal and lifelong battle with God through his attempts to destroy what he perceives to be God's instrument, Mozart.

Inspired by the play unfolding through an aged Salieri's memory, the Wilma intentionally strays far from a realistic and historical approach in a production concept which as stated by director Jiri Ziska in the program "emphasizes the surrealism and subjectivism of Salieri's memory."

The set, like Salieri, breaks the fourth wall. In Robert Pyzocha's design, white fabric with large eyes inked all over, chains, cobwebs and numerous oddly tilting black and white cardboard chandeliers surround and extend over the audience. All of this in addition to a giant eighteenth century wig that frames the backdrop is intended to represent the inner workings of Salieri's decrepit mind.

This is also emphasized in Janus Stefanowicz costume design, which Salieri's memory embellishes as more vivid and sparkly than reality. Contrasted against the nearly all black and white set, the splashes of color offer stunning visuals. Also successful are impressive projections on a glittery curtain and extravagant wigs, in Mozart's case of the golden and pink varieties.

Unfortunately, while the costumes are not so far removed from the eighteenth century world to distract, sometimes the overall highly conceptual approach made it difficult to become fully immersed in the scenes set in the past, which comprise the vast majority of the play. Set pieces such as chairs with eyes drawn onto them often felt superimposed on the story.

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