The Bottom Line: Peter Shaffer's play about Mozart's possible demise at the hands of a rival musician is a strong and satisfying piece of drama, even in written form.
donnamr's Full Review: Peter Shaffer - Peter Shaffer's Amadeus
Most people know Peter Shaffer’s Amadeus from the Academy Award-winning movie. That film was a well-done, though very different version of the original play. The play opened on Broadway in December of 1980 and ran for almost 1200 performances. It returned to Broadway for a new run in 1998.
God’s Beloved
The original play was published in book form and is a top-notch combination of humor, drama, and mystery. The two main characters are Antonio Salieri, a much admired composer and musician during the 18th century, and his rival, the genius Wolfgang Amadeus Mozart. The central question of the play, posed by Salieri himself, is “Did I kill Mozart?”
The title of the play might seem obvious as a simple use of Mozart’s name, but it has a deeper meaning. The title’s true translation of “God’s beloved” lays out the central conflict of the story.
Salieri is at once awed and threatened by the young Mozart. An honorable man who has devoted his life to God and music, Salieri is appalled by an obscene, infantile Mozart. Salieri becomes outraged that God would bless this horrid “creature” with such incredible talent. Though Salieri’s work is popular, he recognizes that it is merely mediocre next to Mozart’s. A bitter Salieri turns his back on his exemplary lifestyle, and swears to fight God on earth by destroying the “beloved” Mozart.
Salieri’s Story
Salieri is the central character. Shaffer has him address the audience directly, telling the story of his interactions with Mozart in both humorous and bitter overtones. He makes side comments to the audience about a number of characters and plot twists. For example, when introducing Emperor Ludwig of Austria, he states that His Majesty loves music as long as it makes few “demands upon the royal brain.” All of this interplay with the audience was cut in the movie, so one of the most charming things about the play was lost, as was much of the humor.
The first meeting between Salieri and Mozart is one of the best-written scenes. Salieri fumes, but retains his courtly politeness, as Mozart irreverently rewrites one of Salieri’s musical pieces on the spur of the moment.
The best-written scene, though, comes at the end of Act I, when Salieri recognizes the true genius of Mozart. Reading through several of Mozart’s manuscripts, Salieri is stunned by the sheer perfection of the music. It is at that moment that he decides to challenge God by destroying Mozart.
But Did He Kill Him?
In the second act, Salieri chronicles the steps he took to ensure that Mozart ended up a destitute musician, rebuked by the members of the court. It’s not documented whether any of Salieri’s intrigues or manipulation of events occurred. Many of the incidents are rooted in fact, though, and that adds a level of intrigue. Could this jealous man really have been the driving force behind the events that led to Mozart’s death? It’s unlikely, but it’s interesting to read the plot twists as Salieri tries to thwart Mozart’s every chance for success.
The most vicious and frightening scene occurs near the end of the second act, when Salieri reveals to a dying Mozart that he has been the cause of the disasters in his life. Salieri is coldly cruel and Mozart is pitifully broken.
Character Development
Obviously, Salieri and Mozart are the best-defined characters. Mozart’s wife, Constanze, is generously featured. She is nagging, childish, and not used to high society. The moment that Salieri first sees her with Mozart is one of the more hilarious moments in the play, as the two cavort on the floor in a baroness’ home.
The secondary characters of the court are pompously drawn, but with an adequate degree of depth. Others – composers, opera singers, town gossipers – simply flit in and out of the action as needed.
Reports of Mozart’s sometimes bizarre behavior are well-documented, and Shaffer really plays on this to make the character over-the-top. This is humorous at first, but the figure turns tragic in the second act as he moves steadily toward destruction.
Salieri starts off as an honorable character and ends up a conniving, manipulating, and empty man. The final irony for him is that, despite his “destruction” of Mozart, Salieri’s music eventually fades from public favor while Mozart’s becomes acclaimed for centuries.
A Truly Great Piece of Drama
Shaffer is an exceptional playwright. The concept of Amadeus is brilliantly executed. The dialogue is easy to read and fast-paced. The stage directions in the book are based upon the set and light designs from the original London production.
The play is more humorous than, but just as tragic as the movie. It portrays two great figures in musical history, maneuvering on a battleground on which God’s favor is the reward.
Even if you’ve seen the movie, I recommend reading Shaffer’s play in its original form, for the sheer drama and interaction of complex historical characters.
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