THEATER REVIEW: In ‘Amadeus,’ Standriff’s performance strikes the right chords
By Heather Parish
Good Company Players’ latest revival of Peter Shaffer’s “Amadeus,” directed by J. Daniel Herring, is an entertaining staging of one of the finest English-language plays of the 20th century. It has to be with that two-hour-and-45-minute running time.
Luckily, “Amadeus” is a spectacularly literate play with drama, comedy, twists, turns, and big questions about fame, art, jealousy, and worthiness.
“Amadeus” tells the tale of Antonio Salieri’s moral corruption in the face of Mozart’s genius. A man who swore an oath to God to live a virtuous life in exchange for a career in music, Salieri’s jealousy drives him to thwart Mozart’s career after the latter’s vulgar obnoxiousness offends him. To Salieri, Mozart is an unworthy source of music intended to magnify the Lord. A famous rivalry ensues, shaping the destinies of both men.
That is, according to this fictionalized account. Part of the cleverness of Shaffer’s play is that he takes the most basic facts about Mozart and Salieri’s relationship and crafts them into a delicious tale told by an unreliable narrator – Salieri himself.
Mark Standriff is one of Fresno’s most consistently excellent actors, and as Salieri he’s stellar. Onstage for the entire runtime, the role is a tour-de-force for an actor with the depth and range drawn from experience. His Salieri is cutting and charming, wry and calculating, generous and vicious. Standriff carries Salieri’s sense of frustrated irony lightly, right up until the crushing weight of emotional turmoil grinds down the better angels of his nature.
Playing Mozart to Standriff’s Salieri is Nico J DiViccaro doing his level best to play the genius enfant terrible. The character is tricky. Mozart’s infamous bawdy immaturity must be delicately balanced with his deep, intuitive understanding of the human condition, expressed through the language of music. DiVicarro successfully embraces Mozart the bawd but only connects him to the Mozart carrying pain and alienation at the very end of the performance. That may come with more time settling into the role.
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“Amadeus” features a colorful ensemble of characters fleshing out the Viennese Court that serves as a backdrop to famous musical rivalries. Casey Ballard and R.L. Preheim as “The Venticelli,” a pair of nameless gossips that bring Salieri essential details of the goings-on in the court, are standouts of obsequious wit and linguistic skill. And while the abilities of individual ensemble members may be uneven, they work together as a unit exceptionally well. The movement and vocal work are cohesive and effective.
Herring’s staging is at its best when allowing Standriff free rein of the space but is hindered by the small size of the thrust stage. The harpsichord dominating the stage makes for awkward scene work on either side of the instrument, which diminishes the rhythm and tension of the scenes, particularly in the second act.
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In terms of production value, the lighting design by Brandi Martin and the costumes by Ginger Kay Lewis Reed are uneven. While some of the specials and costumes are sublime, others appear unfinished. For a play with the operatic landscape of “Amadeus,” I was looking forward to something more polished.
That being said, Herring’s direction of the actors soars in the pivotal, most potent scenes. In these moments, he sticks the landing.
Production quibbles aside, this is a worthy revival of a thrilling play. It is worth the time and money to hear and see it, if only to contemplate the nature of talent, ego, and mediocrity. “Amadeus” is a huge story and, in the hands of Herring and Standriff, it makes for a fulsome night of theater.
“Amadeus” continues at the 2nd Space Theatre through Feb. 18, 2024.
Jackie Ryle
I very much appreciate the wonderful description of Mark Standriff’s genius and how wonderfully the entire cast works together and presents an absolutely exceptional experience for the viewer. I’m really glad I don’t understand or notice the production elements, so I was never distracted from enjoying every minute of this incredible production. I’ve been fortunate to see many Broadway productions! This is Broadway worthy!
Gloria
I agree!!!
Janet Mills
I so agree, Jackie! I don’t know how Mark & Nico do multiple performances with the passion & intensity they gave at the Sunday matinee performance. I was rung out by the end. Bravo to all involved in this production.