Mozart drama takes few risks

By Joseph T. Rozmiarek
Advertiser Drama Critic

•	'Amadeus' 8 p.m. Thursdays-Saturdays, 4 p.m. Sundays, through Feb. 22 Diamond Head Theatre $42-$12 733-0274

The work by Peter Shaffer ("The Royal Hunt of the Sun," "Equus") played successfully for years after its 1979 London opening. The 1980 Broadway version and 1984 movie won a clutch of awards. But the material is challenging for a casual audience.

Bill Ogilvie directs the current revival, with Paul Palmore in the central role of Antonio Salieri. At DHT, the play feels heavy, ponderous and over studied.

Salieri was the official composer to the 18th-century Viennese court — solid, substantial, and self-admittedly mediocre. Also on the scene was Wolfgang Amadeus Mozart, bad-boy musical genius, in whom Salieri recognized the voice of God. Salieri fumes over being denied similar talent. In retaliation, he works to undermine and destroy Mozart.

Historians and music lovers have debated this premise, and have opposed the play's hints that Salieri brought about Mozart's death. The play answers no questions, but moves forward as a character study of the personally tortured Salieri and a Mozart suffering declining health and fortune while his music is little noticed.

Everything turns on the central role. While Palmore understands the shape of the character, he doesn't give it the essential living spark. His performance is thoughtful and introspective, a middle-aged Hamlet who acts in secret while keeping up a public face.

But even when Salieri privately speaks his inner thoughts we hear only the calculations — never the animalistic bite and howl of a scornful mind that challenges God's will. The supporting cast is similarly careful to take no risks.

Todd Evans works a wide range as the misbehaving Mozart — giggling sexily with a wench at a formal reception, flashing with inspiration, and ultimately dying disappointed and broken. Yet the character lacks the necessary dangerous and spontaneous edge to keep the audience off center.

Clara Chorley plays Mozart's wife and Mark Miller appears as a distracted Emperor Joseph II. Lesser roles alternate between clockwork and prissy.

Patrick Kelly's set is a beautiful backdrop of cut stone columns.