Revival of "Amadeus" at Pasadena

A masterful revival at the Pasadena Playhouse breathes spectacular new life into Peter Shaffer's timeless drama.

Jefferson Mays delivers a tour de force as the seething, self-appointed patron saint of mediocrity, Antonio Salieri.

His performance is a breathtaking study in envy, oscillating between pious devotion and venomous rage with captivating precision.

Sam Clemmett provides a superb counterpoint as Wolfgang Amadeus Mozart, capturing both the divine genius and the earthly vulgarity of the character.

The true antagonist, however, remains a silent, indifferent God, whose spectral presence looms over the opulent stage.

Director Darko Tresnjak orchestrates a production where every artistic element harmonizes into a sumptuous visual and aural feast.

Alexander Dodge’s scenic design is a character in itself, a grand and clever canvas that shifts with the story's mounting tension.

Linda Cho’s lavish costumes, crafted by L.A. Opera, and Pablo Santiago’s evocative lighting complete this deeply immersive world.

While the play is famously a showcase for Salieri, this production excels as a fully realized ensemble piece.

It transforms the Pasadena Playhouse stage into a battleground for souls, where the agony of talent confronts the torment of its absence.

This is essential theater, a gorgeous and thrilling examination of the divine spark and the mortal bitterness it can ignite.

The stage unveils a breathtaking forced-perspective hall, stretching into the distance, promising an evening of visual splendor without a single set change.

A painted scrim of Mozart's notes parts to reveal this crimson world, where a celestial ensemble observes the unfolding drama like a silent chorus.

Jefferson Mays, first seen as a decrepit Salieri wheezing in a chair, undergoes a mesmerizing transformation before our eyes into his youthful rival.

With a simple turn and the adjustment of a wig, Mays sheds decades through sheer theatrical craft, revealing the actor's profound power as his ultimate trick.

The elongated set itself delivers a witty visual punch when the towering Emperor Joseph II must navigate its improbably small distant doors.

This production is a feast for the eyes, anchored by a performance that masterfully chews the scenery with frothing, funny, and deeply human desperation.

Jefferson Mays commands the stage with a performance that crackles with bitter wit and simmering jealousy.

This revival reimagines the dynamic between Salieri and his divine rival, offering a Mozart who feels more grounded and less a caricature.

Gone is the purely childish giggling genius; in his place is a figure of arrogant, prodigious talent, brilliantly realized by actor Clemmett.

The production elegantly shifts between Salieri's present-day fury and his haunted memories of the past.

It presents a compelling duality: a Salieri whose narration feels painfully reliable, and a Mozart whose humanity makes his genius all the more devastating.

The timeless fable of mediocrity's war with brilliance is gorgeously mounted, feeling as essential and fresh as ever.

Amadeus Play Review

Watching the latest production of “Amadeus” at the Pasadena Playhouse is an experience that can stir a whirlwind of emotions, from laughter to discomfort. Jefferson Mays delivers a masterful performance as Salieri, whose wit and witless obsession make him both a compelling and amusing figure despite his villainous role. His portrayal brings a relatable charm to a character often depicted as purely malicious, inviting audiences to see the man behind the envy.

The play’s structure, with its framing device, hints at the inevitable tragic outcome, yet it also allows moments of levity as Salieri navigates his envy and despair. As Mozart, portrayed with vivacity, faces the hardships of poverty and sickness, the audience’s tension builds—heightened by sharp humor and poignant music. The orchestra’s pre-recorded accompaniment provides a lush, immersive auditory backdrop, complemented by powerful live singing from cast members like Michelle Allie Drever and Alaysha Fox, whose operatic voices remind us of the grandeur behind the rivalry.

Throughout the show, there's a delicate balance between comedy and tragedy—culminating in a chilling depiction of Salieri’s torment, especially in his extended solitude after Mozart’s death. Mays captures this with comedic timing that makes his descent into despair both humorous and heartbreaking, wringing genuine laughs from his increasingly ghostly presence on stage.

The musical moments are a highlight, with “Amadeus” offering some truly captivating compositions. Although the recorded score simplifies the orchestral complexity, it effectively transports viewers into Mozart’s world, with plans for a live performance at the Hollywood Bowl promising an even richer experience. The performances of the on-stage singers elevate these scenes, providing a refreshing contrast to the play’s darker themes.

Given the enduring appeal of “Amadeus,” a Broadway revival seems inevitable. Its themes of genius, jealousy, and the human condition resonate deeply, especially in a cultural landscape eager for stories about artistic rivalry and personal torment. With Jefferson Mays embodying the tortured genius so convincingly, audiences will continue to be drawn to this compelling portrayal.

Currently, a five-part series adapting this story is available on Starz, indicating a strong interest in revisiting this narrative across different media. For those eager to see the play, “Amadeus” runs through March 15 at the Pasadena Playhouse. Tickets can be secured by calling 626-356-7529 or visiting the venue’s website, inviting theatergoers to immerse themselves in this timeless tale of brilliance and envy.

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