Review: AMADEUS at Pasadena Playhouse

It seems fitting that Peter Shaffer’s 1981 play about the nature of genius and god-given talent be revived at Pasadena Playhouse with a pristine level of virtuosity invested into every detail. With Linda Cho’s ornate period costumes, meticulously-designed forced perspective in Alexander Dodge’s scenic design, and dreamy but tactile projections by Aaron Rhyne, Amadeus is a technical marvel poised to remind audiences what theaters in Los Angeles are capable of conjuring when they are able to fully invest in lofty undertakings. Jefferson Mays takes on the iconic role of Salieri, the composer driven to the brink of madness by his envy of Mozart’s capabilities, and his performance packs a powerful punch. Mays does not shy away from a single register of his instrument, carrying monologues from guttural lows to breathy highs and contributing a deeply human character to the illustrious list of actors who have interpreted the role before.

There will always be a risk in presenting Amadeus because the 1984 movie adaptation is so successful and beloved. Certainly, it could rank among pieces like The Sound of Music which were so improved by their film adaptations that a live performance will forever feel lackluster. But I choose to believe Shaffer’s unflinchingly human excavation of a mind poisoned by perfectionism and haunted by an elusive avocation ranks more along the lines of A Streetcar Named Desire— a movie which affirms the soundness of its source material while bolstering audiences to appreciate future interpretations. That considered, something of the macabre, gritty humanity of this story which was so perfectly encapsulated in the film is missing from this production.

Director Darko Tresnjak has crafted a visually-appealing world that unfortunately reduces the action of the play to broad strokes enacted in a toy theatre. At times, Mays’ Salieri seems to be railing against a Baroque, red and gold void that feels so tied up in lampooning the mores of court etiquette that it neglects the human rivalry at the heart of the play. Shaffer’s text is so intricately-imagined that this shift In Focus feels like a disservice to the piece. The audience, upon leaving the theatre, has appreciated a few laughs and an onslaught of lovely images, but is not ultimately affected by the weight with which Shaffer grappled.

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