Simon’s Rock College, McConnell Theater, Great Barrington, MA
through July 27, 2025
by Shera Cohen
“Madame Mozart: The Lacrimosa,” a new play written by local Anne Undeland, offers one answer as to how Wolfgang Amadeus Mozart died. Remembering the movie, “Amadeus,” the film’s ending is depicted in another scenario. Neither the play nor the movie version may be true; those seeking specifics may google. Undeland’s work is not a who-done-it, but a what-comes-next for Mozart’s young widow.
Actor Tara Franklin, a favorite in the Berkshires, appears onstage from start to finish without a pause; depicting Constanze’s reaction to circumstances and personalities who thwart her survival. The musically prolific Wolfie was a pathetic provider for his family, yet Constanze loved him, and made it her mission that her husband received the respect and notoriety that he deserved in his short life. [Mozart died at age 35. Just imagine how much more amazing music he could have penned!]
Franklin portrays her role as intelligent, decisive, nurturing, cunning, and not unwilling to use feminine whiles when necessary. Director Judy Braha positions Constanze as the mastermind of hiding her husband’s death and unfinished Requiem in D minor. While not miscast, because there is no doubt that Franklin is one of the finest actresses in the Valley, filling the role with a younger actress might be more accurate as a 30-year-old mom of young children.
Ryan Winkles, another stalwart actor in the Berkshires, plays every male in the cast, and there are lots of them, switching from Count to composer to child in a flash. At no point is it ever confusing who Winkles portrays at any given moment. A versatile actor, many of Winkles’ characters provide the humor necessary to balance the plot. There is one running joke particular to bodily functions which repeats much too often; a tad overkill in an otherwise dramatic play.
Stage design by Juliana von Haubrich, from the rafters to floor, is the most accurate and, at the same time, serviceable as any play yet presented by GBPT. Lighting design by Matthew E. Adelson, literally shines, to the point that audience members notice the contrasts and emphasis enabling the story’s progress.
It seems that many one-act plays have been written in the 21st century. No fault there. The playwright should tell the story, and then get out; it’s done, nothing more to tell. In the case of this one-act, too much is said. The script goes on and on, seemingly ending at numerous points, the audience ready to applaud. However, Undeland unnecessarily stretches the tale. Judicious cuts are recommended.
On first look, this is Constanze’s story. Not really. This is Mozart’s story, with huge credit to on-stage pianist Hudson Orfe, dressed in contemporary clothing, playing the composer’s Requiem, particularly the Lacrimosa movement, throughout. Sometimes distinct, oftentimes subtle, the music creates a continuous undertone of Mozart’s magnificence and death.
