Displaying items by tag: AMADEUS

Safe to say Steppenwolf’s revival of Peter Shaffer’s Amadeus is “fetes and fireworks”. Robert Falls makes his directorial debut at Steppenwolf after recently retiring from his role as Goodman Theatre artistic director. To say his new production of Amadeus makes a splash would be an understatement. Falls brings his signature vision to the still new in-the-round stage at Steppenwolf for a thrilling evening of theatre.

Even in the so-called peak of Broadway attendance, very few straight plays ran for three months let alone three years. Amadeus opened on Broadway in 1980 starring Ian McKellen, Jane Seymour and Tim Curry (as Mozart) where it ran for three years. It went on to win several Tonys and was eventually adapted into an Academy Award winning film in 1984. Since plays don’t last long on Broadway, it begs the question: what about Peter Schaffer’s play resonated with audiences? The film has also attracted a considerable cult following.

Pete Shaffer uses the rivalry between Italian composer Antonio Salieri and young Mozart as an allegory for professional jealousy and intergenerational conflict. The dastardly Salieri is played by Steppenwolf ensemble member Ian Barford while his counterpart is played by David Darrow. Though Shaffer admits to inventing many of the details of his play, his version turns the music world of 1700s Europe into a kind of rock ‘n roll. When we think of the classic composers, we think of them as we think of their music–mild, inoffensive, something to put on in the background to get work done. Amadeus portrays Mozart as an enfant terrible: a womanizer and drunkard. His wild lifestyle is likely what led to his most important operas, even if they were mostly lighthearted comedies. Shaffer makes classical music cool by bending the lore to fit his own artistic agenda.

David Darrow, Jaye Ladymore and ensemble member Ian Barford in Steppenwolf Theatre Company’s production of Amadeus.

Robert Falls’ revival feels as fresh as when it opened over 40 years ago. While the movie is known for lavish sets and costumes, Steppenwolf’s production is somewhat modest. Minimalism only adds to the cool factor here. One of Falls’ innumerable talents as a director is creating visual splendor. Together with longtime scenic collaborator Todd Rosenthal, Falls’ shows audiences countless moments of theatrical magic. Steppenwolf’s choice to present this play in the round is a wise one that affords the cast an opportunity to move in and around the audience.

Falls has gathered a wonderful cast. While the headliner here is Mozart, the real star of the show is Salieri. The villain begins the show as the main character and in his lengthy confession we see he is more often the tormented one even though he’s in the position of power. Barford’s performance is less delicate than how this part has traditionally been approached. His hulking figure in period dress only adds to his threatening persona that feels more masculine than intellectual. Darrow on the other hand plays the clown well in the first act but leaves audiences devastated by the conclusion. His indefatigable energy is a lot of fun to watch.

Steppenwolf’s Amadeus is as exciting as the news that Robert Falls switched houses to direct it. In many ways it feels way less stuffy than some of his most impressive work at Goodman. Though this production is basically perfect, there’s a bit of grit left on it and it’s all the better for it.

*Extended through January 25th