Pago 14
Daily Nebraskan
Tuesday, December 11, 1S34
A
madeus' portrays true Mozart
character
Review by Tegcr Swonson
Daily Nebrankan Etff Reporter
dwarfing the cast and their work, nor, a refreshing but somehow stantly directed toward the audience unsettled, sometimes
Mozart's work b a tough compar- unsettling view of this musical audience for it is an audiences because of its three-hour length,
lonn tn cfnnrinnt n hut the nrtine cnht m livpivnnHrs and hawdv nlav. The characters transcend sometimes for the grief felt Dy the
inanrM, mniniv hnmnr ind siirnri and lifp to time and setting to transmit their characters. "Amadeus" does cast
emotional intensity, the Univer- in characters of the two dy- what would have been a heavy- feeling and message to the 20th a fine insist into wliat Salieri
sity Theatre's Amadeus provides namic roles, Salieri and Mozart, handed drama without him. century. The sense of timeless- himself calls the joy of medi-
gripping theatrics at time3, at The most striking actor is Larry RoxanneBaird gives a bright, if ness which Shaffer may have tried ocnty.
others it needs a shot in the arm, French, who portrays the troubled not particularly memorable, per- to communicate, works best when What is most unsettling fe that
and in still other instances the Antonio Salieri who narrates his formance as Const anze Mozart, the actors lighten their tone. most of us can identify with Salieri
dramatics are overdone. 40-year ordeal in the shadow of the wife of the composer. The The audience is constantly because of our own mediocre
Most impiessive are the light- the great composer Mozart, fault probably lies also with the reminded that the music of Mozart existence, which never reaches
ing and music. They combined at French never leaves the stage, character which Peter Shaffer is much more timeless than the the height of greatness attained
times for maximum theatrical although his presence is, at times, wrote. She is motivated and show. The staging draws the by Mozart and his immortal music,
effect, increasing the drama fur- obscured by the antics of Jeff competent, yet clumsy in the ways audience into the drama, although In his speeches and character,
nished by the actors and actresses Talbott as Mozart, the crying im- of the imperial court, an assess- the audience may not be willing Salieri exudes mediocrity. He can
in varying degrees. At times the patient, frustrated composer. ment which parallels Baird's per- when the drama dragged during do some things well for his time,
music becomes the true com- At times Talbotfs character formance. Salieri's lengthy soliloquies. The but nothing which will be remem-
municator of the scene's tone regresses to a childlike demea- WilliamSchutz provides a bright long speeches to the audience bered by future generations. The
spot in the cast as the slightly irritate those wno are accustomea cnarscter oi daiieri may De re
dim witted and decidedly tone- to eavesdropping on others' lives membered for the fact that he
deaf Emperor Joseph II of Aus- portrayed on stage. The shock of was so average, so real, so like
tria. Schutz'3 timing and tone seeing the famous composer as a most of us.
express well the emperor's help- foulmouthed, immature creature What may bother the audience
lessness behind his air of super- unsettles the audience who also the most is that while we may not
iority. hears the eloquent, bucolic music like it, we may have much more in
University Theatre's "Amadeus" of this man. common with the average man of
is best shown on a small stage to "Amadeus" is not a happy play, the day and his average works
involve the audience. The passion it boUs with intensity and seethes than with the immortal genius of
and intensity of the show is con- with conflict. The play leaves the Mozart.
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