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Stars explained: * A production of no real merit
with failings in all areas. ** A production showing evidence of not
enough time or effort, or even talent, and which never breathes any real
life into the piece – or a show lumbered with a terrible script. *** A
good enjoyable show which might have some small flaws but has largely
achieved what it set out to do.**** An excellent show which shows a
great deal of work and stage craft with no noticeable or major
flaws.***** A four star show which has found that extra bit of magic
which lifts theatre to another plane. |
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Rivalry strikes the right note
Amadeus The Grange Players Grange Playhouse, Walsall ***** FOR cheering to break out at the end of a
particularly long play at the Grange is a rare occurrence, but it was
richly deserved by a splendid cast who presented Peter Shaffer's
enthralling story with aplomb. And while the title refers to the famous composer
Wolfgang Amadeus Mozart, the action is dominated by Ian Eaton, playing
the brilliant young man's jealous rival Antonio Salieri, Court composer
for the Emperor of Austria in the late 18th century. Eaton's performance in a play which runs for
nearly three hours is nothing short of remarkable, and he even manages
to include little bursts of Italian here and there to add to the
authenticity. Set in Vienna, the story suggests that Salieri, a
highly successful musician, sees the arrival of Mozart on the scene as a
dangerous intrusion by a vulgar young upstart, and sets about
undermining him. Adam Worton is also excellent as the giggling,
mischievous Mozart, particularly in the final scenes where, battling
against illness, and desperately poor, he dies prematurely after writing
his famous Requiem, and Salieri realises, too late, the error of his
ways.
Eaton excels in all aspects of his towering
performance, at times addressing the audience and displaying a range of
perfect expressions to suit the occasion. He is totally convincing in
demonstrating how - according to the author - Salieri leads the
poverty-stricken Mozart to believe he is trying to help him while in
fact plotting to damage his exciting career. Despite promising his Maker to lead a blameless
life if his musical ambitions are fulfilled, the cunning Salieri is seen
as a devious character who even comes close to adding Mozart's wife,
Constanze as a notch on his quill. Anneka Johnson impresses as Constanze, and Lin
Minh Tran is a delight as opera singer Katherina Cavalieri, a very
attractive love target for both men. Other key roles are confidently played by David
Stone (Count Franz Orsini-Rosenberg), Terry Atkinson (Baron Gottfried
van Sweiten), Alex Barzdo (Count Johann Kilian von Strack) and
Christopher Waters (Emperor of Austria). Period costumes and props, the clever use of
harpsichord music which the two men appear, at times, to be playing on
stage, plus the stunning make-up of the four rumour-mongering Venticello
(Becki Jay, Zoe Maisey, Tomos Frater and, at late notice, Dario Biedma
Coleman), add considerably to the enjoyment. Full marks, too, for stage manager Rosemary
Manjunath and her team - all dressed in period costume - for the
smoothness and unobtrusive skill of the operation to switch furniture
and other props during the action. This extremely challenging play is superbly
directed by Julie Lomas and produced by Rachel Waters. To 19.11.11 Paul Marston |
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