Review: AMADEUS at CIty Theatre Austin

Peter Shaffer's Amadeus is much more than a play about two composers. It is a story about ambition, jealousy, faith, and the painful realization that someone else possesses the extraordinary talent we wish were our own. City Theatre Austin brings this classic to the stage under the direction of Bridget Farias Gates, revisiting one of the most famous rivalries in music history.

First performed in London in 1979 and later adapted into the Academy Award-winning 1984 film, Amadeus imagines the relationship between Wolfgang Amadeus Mozart and Antonio Salieri, two composers living in eighteenth-century Vienna. While their rivalry is largely fictional, Shaffer uses these historical figures to explore a simple but uncomfortable question: What happens when ambition exceeds ability?

Interestingly, the story is told not through Mozart's eyes but through those of his rival, Antonio Salieri (Kevin Gates). Now an aging composer, Salieri looks back on his career and his encounters with the young musical genius. Having dedicated his life to music and God, Salieri believes his devotion should be rewarded with greatness. Instead, he finds himself confronted by Mozart (Brad Forsyth), a childish, impulsive, and often ridiculous young man whose musical talent seems to come effortlessly. Salieri recognizes Mozart's genius but considers it an insult from God. Convinced he has been betrayed, he sets out to destroy Mozart's career while pretending to be his friend.

Despite being our guide through the story, Salieri never really earns our sympathy. He comes across as arrogant, calculating, and increasingly cruel, even as he attempts to justify his actions. His jealousy consumes him, turning his resentment into a personal war against both Mozart and the God he believes has betrayed him.

Mozart, meanwhile, is hardly an ideal hero. Forsyth portrays him as immature, impulsive, and remarkably naive, seemingly unaware of the people working against him. He possesses an extraordinary understanding of music but very little understanding of the world around him. His ridiculous laugh, one of his defining characteristics, makes him seem even more childish. A genius in music, perhaps, but a fool in life.

Directing Amadeus, with its large cast and elaborate period setting, is an ambitious undertaking. Farias Gates delivers an entertaining, polished production with some clever visual choices. Particularly effective are the choreographed moments when the ensemble forms compositions resembling historical paintings, suggesting a society where appearances often matter more than genuine emotions.

The beautiful costumes deserve special recognition. Kristin Knipp coordinated the costumes, with support from Tracy Hurd; Bert Flanagan created the women's dresses, while Virginia Davis designed the costumes for Salieri, the Emperor, and Mozart. The elegant gowns and elaborate period attire transport the audience to eighteenth-century Vienna and greatly enhance the production's polished look.

The cast handles Shaffer's demanding material with commitment. Gates offers a composed Salieri, particularly effective as the narrator, although a little more emotional intensity would help convey the growing desperation behind his obsession with Mozart. Forsyth embraces Mozart's childishness and lack of social awareness, creating a character who can be as irritating as he is fascinating. His Mozart is not particularly likable, but then again, is he supposed to be?

Some of the strongest performances come from the women, who bring welcome energy and emotion to a story dominated by two men. Daniela Recabarren is engaging as Constanze Weber, Mozart's wife, while Tracy Hurd and Taylor Allen bring humor and personality to the proceedings as Venticelli 1 and 2, the ever-present gossips who help move the story along. Allen also takes on the role of Teresa Salieri, while Becky Richey makes a quiet impression as Katherina Cavalieri, the opera singer and Salieri's pupil. Together, these actresses add warmth and wit to a story largely concerned with the ambitions and rivalries of men.

A welcome addition to the cast is fellow Austin theatre critic and actor David Robinson, who returns to the stage as Count von Strack. It is always a pleasure to see a friend pursuing his passion for acting.

What makes Amadeus so interesting is that neither of its central characters is particularly admirable. Mozart may be a genius, but he is immature and irresponsible. Salieri has achieved professional success and recognition, yet none of it matters once he realizes that Mozart possesses a talent he will never match. He loves music and understands its beauty, but that very understanding becomes his greatest source of suffering. He can recognize genius but cannot reproduce it.

City Theatre Austin's production is a commendable achievement for a local company. Farias Gates and her team have put together an ambitious, entertaining, and visually appealing production that makes good use of the company's resources.

Ultimately, Amadeus reminds us that talent and wisdom do not necessarily go hand in hand, and that sometimes our greatest enemy is not the person standing in our way, but our inability to accept who we are.

Amadeus
Written by Peter Shaffer
Directed by Bridget Farias Gates

Now playing through October 18, 2026
Thursday through Saturday at 8:00 p.m.
Sunday at 3:00 p.m.

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