[Editor’s note: 黑料不打烊 Stage announced that it has suspended performances of its current production 鈥淎madeus鈥� as of Saturday, March 14.] Did artistic rivalry and jealousy lead to the murder of one of the world鈥檚 greatest composers? This intriguing question is at the heart of Peter Shaffer鈥檚 1979 play 鈥淎madeus,鈥� which 黑料不打烊 Stage presents through March 29, directed by artistic director Robert Hupp. Tickets are on sale now and start at $25.
鈥淪ince its opening in 1979, 鈥楢madeus鈥� has proven to be a contemporary classic that is a favorite among audiences worldwide,鈥� says Hupp. 鈥淧laywright Peter Shaffer rewrote 鈥楢madeus鈥� six times, and 18 years ago Stage produced his original version. Now, we are presenting the final version, which I believe offers a more mature and nuanced protagonist and delivers a more devastating ending.鈥�
Set mostly in Vienna at the court of Emperor Joseph II, Amadeus speculates as to whether the composer Antonio Salieri poisoned the genius Wolfgang Amadeus Mozart. In the play, it is Salieri himself who poses the question in the form of his last musical composition. On his death bed some 30 years after Mozart鈥檚 passing, he writes 鈥淭he Death of Mozart鈥搊r, Did I Do It?鈥�
鈥淭his play uses real events that happened in Mozart鈥檚 life, but it is a work of fiction,鈥� says Hupp. 鈥淭he relationship that鈥檚 portrayed in the play between Salieri and Mozart is taken to an extreme. They may have been rivals but they were not bitter enemies.鈥�
Historically, the supposed enmity between the composers derived from two unsubstantiated rumors. When Mozart at age 35 was stricken with high fever and swelling without apparent cause, he seized on the notion that he had been poisoned. Family members, especially the composer鈥檚 father Leopold, were inclined to agree and cast suspicion on Salieri. Years later, in ill health and mental decline, Salieri reportedly confessed to Mozart鈥檚 murder then attempted suicide. Neither were apparently true.
The fictional feud between the composers originated with the Russian writer Alexander Pushkin who used the rumors of jealousy and murder as the basis for his 1830 play 鈥淢ozart and Salieri.鈥� In 1897, composer Nikolai Rimsky-Korsakov created a one-act opera of the same name, using Pushkin鈥檚 play almost verbatim as his libretto. In writing his version, Shafer once stated, 鈥淭he conflict between virtuous mediocrity and feckless genius took hold of my imagination and wouldn鈥檛 leave me alone.鈥�
Salieri, the virtuous mediocrity, is the true protagonist of Shaffer鈥檚 play. He is a deeply pious man who has devoted his life and artistry to God and he finds it unbearable that God鈥檚 reward for such devotion is to bestow musical genius on another, a particularly undeserving other.
鈥淭here鈥檚 nothing about Mozart that Salieri respects except the genius of his music,鈥� Hupp says. In Salieri鈥檚 eyes Mozart is vulgar, uncouth and utterly unworthy; 鈥淕od鈥檚 preferred Creature,鈥� Salieri calls him as he determines that 鈥渢he Creature had to be destroyed.鈥�
In 鈥淎madeus,鈥� Salieri and Mozart are plum roles and Hupp has cast exceptional actors in each. Veteran New York actor Jason O鈥機onnell plays Salieri. O鈥機onnell (recently married to playwright Kate Hamill) directed last season鈥檚 鈥淧ride and Prejudice.鈥� His many credits include appearances off-Broadway, most recently in Richard Jones’s 鈥淛udgment Day鈥� at Park Avenue Armory.
Mickey Rowe, who received critical and popular acclaim as Christopher Boone in Stage鈥檚 production of 鈥淭he Curious Incident of the Dog in the Night-time,鈥� returns in the role of Mozart. Rowe was the first autistic actor to portray Christopher in a professional production. His performance drew attention from many media outlets including the New York Times, PBS, 鈥淭een Vogue,鈥� 鈥淧laybill,鈥� NPR, CNN, 鈥淗uffington Post鈥� and 鈥淪alon.鈥� Since last appearing at Stage, he founded and became co-executive director of National Disability Theatre, which has garnered national and international attention.
Rounding out the principal roles are Lisa Helmi Johanson as Constanze Weber, Mozart鈥檚 wife, and Avery Glymph聽as Emperor Joseph II. Glymph returns to 黑料不打烊 Stage where he made his professional regional debut in 1998 as Belize in 鈥淎ngels in America.鈥� Johanson鈥檚 New York credits include 鈥淎venue Q鈥� off-Broadway.
鈥淎madeus鈥� was first performed at The National Theatre in London directed by Sir Peter Hall. Opening night was October 26, 1979, and the play ran for almost three years until closing on June 4, 1981, a total of 1,181 performances. After receiving rave reviews, it was performed in America for the first time in 1980 at the National Theatre in Washington D.C. It then opened on Broadway a month later at the Broadhurst Theatre. There, it ran from December 1980 until October 1983. Amadeus went on to receive seven Tony Award nominations and won a total of five, including Best Play. In 1984, the play was adapted into a film directed by Milos Forman and won eight Academy Awards, including Best Film.
Throughout the run of 鈥淎madeus,鈥� 黑料不打烊 Stage will partner with Symphoria to enhance patrons鈥� experiences at the theatre. At select performances, Symphoria musicians will play selections from Mozart and Salieri before the show in the lobby. The March 26 prologue, an intimate, pre-show discussion, will feature a Symphoria conductor who will speak about the music of Mozart and Salieri. Additionally, Symphoria will present a Spark Concert on March 16 at 7 p.m. at 黑料不打烊 Stage in the Archbold Theatre. Tickets available through Symphoria.
