Thursday 25 May 2017

NT Live Amadeus


This was tremendous a terrific performance  


http://www.sydneyartsguide.com.au/amadeus-nt-live-revisits-a-classic-of-the-british-theatre/

AMADEUS : NT LIVE REVISITS A CLASSIC OF THE BRITISH THEATRE


The latest in the excellent series of the NT Live series, this is  a gripping production of Shaffer’s controversial, classic play AMADEUS.
First performed in 1979 and then with the film in 1984 this is a slightly reworked production. On one level, it is about art and creativity, genius, jealousy and revenge, and the struggle to be an artist and use one’s God given gifts. Mostly, however, it is about the fictionalised rivalry between Salieri (here heroically played by Lucian Msamati) who also acts in part as the  narrator, and Mozart .There’s significant debate about this which suggests it was probably a greatly exaggerated antipathy. Respect, envy, resentment and affection are all intertwined in the complex relationship that develops between the two.   
Director Michael Longhurst has fluidly transformed this into a piece of music theatre, with the help of designer Chloe Lamford blending visuals and music, song and spoken dramatic text.
Langford has created a fluid, semi-abstract, stripped back stage area (which allows for the painted scene-cloths to be flown in and uses a minimalist proscenium-arch stage as required). The costumes (also by Langford) are finely detailed and colourful – huge panniers, mile high wigs with ships, wonderful brocaded uniforms and there is a sumptuous use of gold.
Some of the choreography for the dance scenes comes across as rather anachronistic, and more contemporary ‘rave’ party as the masked cast parade in slo-mo.
In terrific partnership with the National Theatre actors are the immensely talented young musicians of the Southbank Sinfonia.We see 16 actors and 20 musicians and the Orchestra fully integrated into the action (two of the Venticelli, who bring Salieri the latest news, come from the among the musicians).
We hear excerpts of Mozart’s masterpieces in sumptuous grandeur (short fragments of The Magic FluteThe Marriage of FigaroDon Giovanni are included) as well as Simon Slater contributing additional music, providing sardonic enhancement.
AMADEUS is a magnificent piece of theatre with two sensational major roles.
Lucian Msamati takes up the mantle of Paul Scofield, who originated the role – as well as Ian McKellen, David Suchet , Rupert Everett and F Murray Abraham who have played the part since. Here in Sydney we have seen John Gaden and Nick Hunter in the role .
Msamati as Salieri gives a towering,commanding performance who makes it clear that Salieri’s attack on Mozart is a continuation of a war with a God with whom he feels personally betrayed by. He is devastatingly conscious of his mediocrity and his despair is unmistakable. The role is an Iago like role, full of sly scheming, plotting and wry bitterness. We witness the contrast between the private and public Salieri.
At Court, wearing his artificial‘ public ‘face’. At court he is restrained, refined and elegant. Alone, behind the scenes, he castigates himself in anguish, not just because he ironically is the sole person in Vienna capable of appreciating Mozart’s genius. Is it all a ‘joke ‘on God’s behalf?  If so ,why?
In the second half of the play we see how Salieri repudiates his vows to God and sets out to break them – yet seemingly at first all goes incredibly, almost frighteningly well with Salieri becoming feted rich and famous…until …
The Southbank Sinfonia is fully integrated into the dramatic action. As Msamati’s Salieri vows and bargains with God to live a virtuous life in exchange for fame, the Sinfonia bow their heads in prayerful acknowledgement. Sometimes however they are spirited in denial : when Salieri refers to his opera, The Stolen Bucket, they refuse  his plea to play an excerpt.
The singers are also front and centre stage: an adored Viennese soprano Salieri’s prize pupil Katherina Cavalieri (radiantly sung by Fleur de Bray) is wheeled in on a portable dais and key moments from the operas of Salieri’s detested rival, Mozart, are played in full solemnity downstage.
Longhurst also uses the orchestra to show the feverish bustle of 18th-century Vienna and this creates visually striking moments, such as when the players gather sycophantically around Salieri to represent the hollowness of his fame and fortune.
Adam Gillen’s blonde, over the top, bouncy self centred, father dominated Mozart startles and annoys – which is of course the point). Gille,  as the former child prodigy, perfectly portrays Mozart’s puppyish exuberance, his  confidence in his gifts, his appalling scatological puerility. How can such sublime glorious music come from such a posturing, simpering, giggling repressed adolescent?!
A loudmouth creature of excess, Mozart doesn’t seem to realise how he alienates the courtiers around him. Yet in Gillen’s portrayal we glimpse the man behind the mask, and feel enormous sympathy for him.
Mozart’s wife, Constanze, is portrayed by Karla Crome as an ingenious, intelligent and worldly person. There are critical scenes between her and Salieri where she reveals the Mozart’s family poverty, and we also see Salieri’s attempted seduction that goes wrong.  
In the supporting roles I particularly enjoyed the performances of  Hugh Sachs as an egotistical opera-house director and  Geoffrey Beevers’ portrayal of  Mozart’s patronising Baron. Tom Eden gave an imposing performance  as the Emperor.   
Longhurst’s celebratory revival brings out the magnificence of Shaffer’s text,  its suppleness and wit, its playfulness, its philosophical explorations. We see a flowing, prismatic theatrical landscape of heavenly music, shadows and sunlight in this tribute to Shaffer who passed away just in June last year .
Running time allow just over 3 & ½ hours (!) including one interval .
The NT Live screening of Peter Shaffer’s AMADEUS is playing selected arthouse cinemas until May 11.

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