Arts Nexus

[Eve]

AMADEUS
written by Peter Shaffer
directed by John Hughes

Presented by Cairns Civic Theatre & Cairns Little Theatre
at Cairns Civic Theatre
30 April - 2 May 2009

review for Arts Nexus by Hazel Menehira FTCL


The Thursday matinee performance opening of Amadeus by Peter Shaffer was a praiseworthy collaboration between Cairns Civic Theatre and Cairns Little Theatre, providing a tremendous boost for the city’s cultural image

Whilst the music of Wolfgang Amadeus Mozart enthrals and inspires, and the success and popularity of the 1984 film adaptation of Amadeus is established, it is the stage play script by Peter Shaffer which continues to draw and intrigue both thespians and theatregoers.

It has also drawn extensive coverage and debate concerning Shaffer’s dramatic licence, of his interpretation of the characters of composers Mozart and Antonio Salieri, plus their antipathy upon which the plot rests.

But all that aside, this is theatre, and since Sir Peter Hall’s first production at National Theatre, London, Amadeus (the play script) has won award after award.

Who can resist participating in, or attending such a brilliantly crafted piece of theatre which provides challenges in every aspect of its performance and staging.

All credit in Cairns to director John Hughes, a dedicated cast of actors and a backstage team of 40 who rose to meet the challenge, sustaining style and integrity to achieve the playwright’s intention.

The acting space was utilised with planned controlled movement. Scene changes were unobtrusively achieved by using drop cut-outs for various locations each representing the appropriate architectural theme of the period. Rich colours of gold, red and green were used to advantage. Minimum properties were utilised and strategically set by valets and servants. The cyclorama was a valuable tool for sensitive silhouetting whilst side pool lighting was modulated with care. These visuals highlighted the loaned wardrobe (from Melbourne) which gave an authentic sense of the Austrian Court of 1823 and the previous decade. The expertise of the backstage team of seamstresses cannot be undervalued, for it is no mean task to fit and adapt costumes for a new cast.

It is the bonding of the whole team involved in every department that makes for the success of the current production. Many backstage workers take on several responsibilities and are also on stage in non-speaking roles. So all power to people like Tony Birch for they are the nuts and bolts of community theatre which can not tick along successfully without them.

On stage Lance Helms gave a confident many faceted performance as the recognised and esteemed court composer Antonio Salieri. He gave robust scenes when bitterly attacking and finally rejecting God. By contrast he displayed his versatility as the frail old man beseeching the audience to act as his confessor before recounting how he had deviously procured Mozart’s downfall.

Andy Bramble was a delight as Amadeus, establishing the vivacious vulgarity, and the juvenile engaging lack of grace and composure which so disturbed the court. He gave a sensitive and credible characterisation with a sound understanding of both the attributes and flaws of the young musical genius. Voice and movement were synchronised .

Teaming with him as his wife Constanze Weber, Kylie Ryan captured the spirited, animated and deliciously appealing young common woman who became lover, wife and mother. They were a sparkling duo until worn down by poverty. Mozart’s death scene was a genuine and memorable piece of interaction.

The contribution of The Venticelli the gossips who kept Salieri fully informed about both Mozart and court affairs (played by Gill Birch and Lynn Cropp) was a valuable strategy by Shaffer for the exposition of the play, and also to keep an audience on track as the plot evolved. Both women played with vocal attack and clarity using pace for effect, and showing fine teamwork.

Praise must be accorded Peter Noakes in this his first play. With energy and power in reserve he is an actor of promise, who played Joseph 11, Emperor of Austria. He captured authority and command and managed to tinge the characterisation with a humorous ‘slow to grasp’ defect. Definitely a ‘watch this space’ performer.

The balanced cast all carefully selected contributed to bring each character to life. Clare-Marie Mestroni as Katherina Cavalieri, Salieri’s pupil and bed partner shone in scenes extolling her vocal skills and was a lively contrast to the characterisation of his wife Teresa played by Claudia Lutrop.

Brian Schwarze gave us a foppish and pompous Count Orsini-Rosenberg, director of the royal opera. Peter Hughes as the staid Johann Killian von Strack, and Kevin West in the role of Baron van Swieten reinforced the court scenes each adding interesting characterisations.The vital cameo contributions of actors Mike Carette, Frank Joel, Troy Donahue, Fred Cave, Stefan Geisler Tim Rowse, Dell Beckman Sarah McLounan, Alison McKinnar, Helen Villiers,Tony Birch, Pieter Blaauw and Aaron Rees was the perfect reminder for any director that ‘a play is only as strong as its weakest link’. That there were none in this show says it all.

I left with only two regrets.

Firstly despite excellent publicity for Amadeus the top tiers of the Cairns Civic Theatre were not overflowing with audience members. I noted only one school party. They were the fortunate ones who experienced an educational and memorable matinee event. (Young viewers will be the adult audiences of tomorrow to keep community theatre alive )

Secondly, a plea to the cast to hold the frozen curtain call tableau for a full final blackout before walking off. We the audience, Salieri’s confessors, want to retain the magic of Amadeus as long as possible.

The season runs only until this Saturday, 2 May.

Hazel Menehira FTCL
hzlmango@bigpond.com