Wolfgang Amadeus Mozart is known as one of the most famous composers in the world of classical music, but people may wonder more about the man behind the musical notes. “Amadeus” is just the play to give you an inside look into the eccentric and exciting world of Mozart.
The play, told in a series of flashbacks, takes place in the late 18th and early 19th centuries during Mozart’s (played by senior Sammy Zeisel) debut in Vienna, the classical music capital of the world. Rival composer Antonio Salieri (played by senior Noah Gavil), who narrates the story, envies Mozart’s genius and the ease with which he writes music. When Salieri discovers Mozart’s less-than-wholesome behavior, he wonders why God would bless this undeserving man with such a powerful gift, and in turn sets out to destroy Mozart’s reputation and life.
“It’s a really complex story; a psychological thriller in many ways,” Gavil explains.
Not surprisingly, music plays a central role, going beyond providing a background for the actors on stage. A live pit orchestra, similar to one for a musical, will perform Mozart’s original pieces. However, the music won’t be timed to follow the actors’ movements and lines; instead, it will be used to enhance emotions.
Music teacher Vince LoRusso is conducting the pit for the first time at Whitman.
“The music is amazing,” he says. “It’s a great way for me to get my feet wet in Whitman drama.”
Sophomore Grace Laboy, who sings a two-minute solo in German from the opera “Abduction at Seraglio,” explains that when auditioning, students had to prepare a two-minute monologue, but only those interested singing solos had to perform.
“I tried out, knowing that singing is my strong point,” she says. “But the aria (a choral song for a lead singer) I am singing is really challenging, so challenging that people rarely sing it.”
Other select cast members who play the Citizens of Vienna, the chorus in the play, will be featured as soloists. Senior Haruka Nakagawa will sing “Kyrie” from “Requiem” and senior Emma Rackstraw will sing the familiar “Queen of the Night” aria. The play also includes a full choral performance of “Lacrimosa” from Mozart’s “Requiem,” a gloomy but beautiful piece that was the composer’s last before his untimely death.
Since many of the cast members do not have singing experience, the music has proven to be a complicated part of rehearsal, since the whole cast must sing the choral piece at the end of the play. The biggest challenge for students less familiar with singing is learning the music, especially since it is coupled with learning multiple lines and a lot of blocking in a short amount of time, Zeisel says.
Although director Chris Gerken traditionally chooses comedies for the winter play (“The Odd Couple,” “The Nerd”), he decided to deviate from the trend this year.
“There’s a whole different dimension to drama that we haven’t experienced yet,” Gavil says. “There’s so much more going on mentally with the characters that makes it more difficult.”
Despite the difficulty, cast members say they are excited about performing such a rich, classic script that allows the cast and the audience to wonder whether the plot was a conspiracy or whether it was based on real events.
“This is a really fun part for me because it’s about very serious issues,” Zeisel says. “And it’s always cool to play a real historical figure.”
