Majestic Theater, West Springfield
through February 12, 2017
By Shera Cohen
 |
| Photo by Lee Chambers |
Before entering the theatre, the audience hears the sounds
of Mozart. Immediately, is the sight of expansive floor-to-ceiling,
wall-to-wall staging which creates the lush 18th century Viennese court backdrop
to “Amadeus.” Clocking in at 3-hours, this exquisite drama with comedy (as
opposed to “dramedy”) uses every well-crafted word and purposeful movement to
tell the story of composer Antonio Salieri and his nemesis Mozart. Whether the
script is based on reality or not or even partially, is curious, yet not
important.
Probably the only character who most theatregoers are
familiar with is Mozart – his name, some of the titles of his plethora of
compositions, and little else. Yet, Salieri is the star of the play who breaks
the fourth wall in conversation with the audience at the start and end of the
work, reliving the saga of his life intertwining with that of Mozart. It is not
a pretty story, but one of jealousy, bravado, status, ego, and mistrust.
Covering this combination of unpleasantness with ever-present, foreboding
religious dogma, and “Amadeus” becomes the stuff of excellent craftsmanship by
writer Peter Shaffer.
Keith Langsdale creates his Salieri as the evil-doer –
smart, manipulative, and even slimy. It’s a very thin line for an actor to
convince his audience to hate Salieri (perhaps Mozart’s murderer, thus
depriving the world and centuries to come of such genius) and simultaneously
feel incredibly sorry for this self-loathing man who realizes that he will
never fulfill his dreams. I can’t think of a better actor in voice, mannerisms,
and skill than Langsdale to accomplish such a task.
Stephen Petit plays the precocious man-child Mozart, at
first with naivety, foolishness, and spunk. Gradually, Petit sinks his
character into desperation in all aspects of his life. Like Langsdale, Petit
has the perfect voice and body for his role. He is young and adorable like a
puppy, with a contagiously cackling nervous laugh.
Who knew that J.T. Waite, an accomplished actor often seen
on the Majestic’s stage, is also a director. He pays attention to every minute
detail to bring the drama or the comedy (whichever called for at the time) to
its fullest. Yes, I said the play is long, yet at no point is it sluggish. In fact,
the opposite.
Each actor fulfills his role with panache, indicative of the
century. A note about Jack Grigoli and Rich Vaden as Tweedle-dee and
Tweedle-dum clowns. Their lickity-split repartee is a hoot to watch and hear.
It’s been a while since the Majestic has tackled a period
piece, complete with costumes, make-up, and wigs of the era. Bravo to all of
those backstage and onstage.
