‘Amadeus’ falls short of Mozart’s genius

Richmond Shakespeare's offering for the 2009 Acts of Faith Festival is "Amadeus," the 1979 Peter Shaffer drama that won the 1981 Tony award. An exciting choice for the festival, it focuses on divine gifts and the notion of bargaining with God.

This fictionalized account of the relationship between Mozart and a contemporary, court composer Antonio Salieri, shows Salieri to be a pious man who's a mediocre artist. Mozart, of course, is a genius, and in Shaffer's eyes -- based on some historical evidence -- he is also a childish, arrogant boor. How, Salieri agonizes, can God give such transcendent skill to the undeserving Mozart, when Salieri wants only to serve God through music?

Salieri's early success in the court of Joseph II, the Austrian emperor, makes him believe that God has accepted his deal: a lifetime of piety in exchange for the opportunity to serve through musical composition. But his need is self-serving; it's not enough to be court composer, to have students and economic success. He has the sense to appreciate Mozart's sublime skill.

Salieri acts out his jealousy by secretly thwarting Mozart at every turn, but Salieri makes it clear that his quarrel is not with Mozart, but "through him with God" because God has not kept his end of the bargain.

James Alexander Bond directs a clearheaded and workmanlike production here, but like Salieri himself, it lacks the crackle of brilliance. Some of the problem is attributable to Shaffer's script, which ingeniously sets up the rivalry and then spends long stretches watching it play out. So Andrew Hamm's performance as Salieri doesn't ignite until late in the first act, when the actor can finally display his signature intensity. And Mike Hamilton's Mozart is too annoying for too long; he uses a cartoon-character voice and gives only the briefest glimpses of the intelligence within.

The other performances by the pared-down cast are solid, led by Liz Blake as the headstrong Constanze, Mozart's wife. The gorgeous costumes by Rebecca Cairns and Ann Hoskins are a highlight of the production. But the absence of all but the most rudimentary lighting effects is noticeable; something more varied might have added subtlety.

Susan Haubenstock is a freelance writer and editor based in Henrico County. Contact her at .