http://www.theaustralian.news.com.au...001562,00.html
tim starring as mozart, be afraid, be very afraid,
Amadeus
By Peter Shaffer. Perth Theatre Company. His Majesty's Theatre, Perth, July 4. Tickets: $55-$65. Bookings: (08) 9484 1133. Until July 15.
WHILE the world celebrates Mozart's 250th anniversary with countless concerts and opera performances, His Majesty's Theatre and Perth Theatre Company have joined forces to present Peter Shaffer's contentious play, Amadeus. The plot, that Mozart was undermined and eventually murdered by his jealous colleague, Salieri, will already be known to many, given the widespread acclaim of the 1984 Academy Award-winning film version.
Having seen the film, one is also prepared for Mozart being portrayed as a foul-mouthed, conceited buffoon, albeit a genius and sensitive artist. For anyone who venerates Mozart's music, the finesse with which his character is conveyed will make or break the play.
I was relieved to discover that comedian and actor Tim Minchin makes an excellent Mozart. Minchin brings subtlety and charisma to this challenging role. His Mozart is complex and multi-layered, bristling with energy and enthusiasm, aware of his extraordinary gifts as well as his weaknesses.
And while there are moments when the brashness grates, at least his laugh is more endearing than in the film. Minchin also impresses with a dashing turn at the fortepiano when Mozart parodies a march by Salieri.
The strength of this production, however, rests largely with Dennis Olsen's outstanding performance as Salieri. Olsen is infallible in his delivery, both as the younger composer and as the old man at the end of his life. His vast stage experience is evident as he brilliantly captures moments of humour and delivers the dark torment of Salieri's struggle with envy and revenge. The supporting cast is strong, especially Kate Mulvany as Constanze.
Director Alan Becher does an excellent job keeping the audience engaged in a play that is rather wordy and sometimes in danger of sagging dramatically. Steve Nolan's designs create a warm opulence and Graham Walne works wonders with the theatre's new lighting rig. Perhaps a new sound system should be next on the list as the quality of the music reproduction was below par.
So, how does Amadeus contribute to our understanding of Mozart in this anniversary year? Perhaps not so much in the exaggerations and speculations as in the context of the extreme financial, professional and domestic pressures he suffered while effortlessly turning out enduring masterpieces. That may well be worth reflecting on next time we are transported by a sublime aria or symphony.