Performing Peter Schaffer’s Tony award-winning play Amadeus, SUTCo triumphs once again. The production follows the imagined rivalry of composers Antonio Salieri and Wolfgang Amadeus Mozart; a stark look at genius, jealousy and sabotage within the court of Emperor Joseph II. Dominated by the narration of an older Salieri (Andrew Hurrell), audiences witness the meeting of his young self (Luke Hookham) and the acclaimed Mozart (Abigail Wright). The guidance of directors James Platt and Toma Hoffman was demonstrably exceptional.
The acting was utterly superb. From the moment Hurrell began to speak, I was transfixed by the intensity and earnestness of his words. His presence on stage throughout- a startling reminder of what was yet to come- gave the production a haunting quality exacerbated by the volatile blue, green and orange lighting. Luke Hookham’s performance was equally electrifying. His guttural screams and embodiment of the highest forms of rage and jealousy were carnal and truly tenable.
Another standout performance, Wright’s balance of Mozart’s arrogance and glib merriment was perfect; inciting just the right amount of laughter and irritation from the audience. Overall however, it was the hilarity and exaggeration of facial expression that captured my attention: the cheekiness of Mozart’s smile contrasted with the utter fury of Salieri. This is not to trivialise the comedic performance of Eddie-Edwards White’s Joseph II, their humorous inflections provoking the loudest laughter in the room.
In terms of prop use, the piano remained centre-stage throughout, a clever way to focus the audience’s attention on the musical rivalry at play. The exploration of the stage and the parapet added an interesting element of movement and sound, especially when the characters began to whisper from high above. Immersing the audience, the actors’ voices became chilling, the noise causing my hair to stand on end. This reaction was palpable as Hurrell continued to address the spectators directly. Flooded with sudden light, we became key witnesses in Salieri’s story.
I especially loved the use of the orchestra at the back of the stage. Implementing the compositions of Mozart and Salieri throughout, the music contributed to moments of great tension. Further, their points of conclusion left the stage and spectators in an eerie silence that elicited feelings of both pressure and finality.
Overall, Amadeus is an essential watch. A completely new play to me, I found this rendition to be easy to follow and superbly acted. A real testament to musical genius!
Amadeus is running from 23-25 April at the Drama Studio – Amadeus – Performance Venues
★ ★ ★ ★
