Amadeus. National Theatre. 13-03-18

Adam Gillen as Wolfgang Mozart in Amadeus at the National Theatre (c) Marc Brenner

“Forgive me, Majesty. I am a vulgar man! But I assure you, my music is not.”
Wolfgang Amadeus Mozart.

Watching the National Theatre’s revival of Amadeus is an overwhelming experience. I only wish that its author Peter Shaffer had lived to see it. It is a very personal, intense story of jealousy and hubris; a small but marketable talent which has brought social success set against the kind of genius which will always go its own way and scatter everything before it, even when given to a rude, annoying little egotist. However much Salieri, the established “court composer” fights against the young upstart Mozart and puts obstacles in his way to make him suffer there is only going to be one winner. The “voice of God” which pains him so much may come from an “obscene child” but it is still the voice of God and only that can confer immortality.

The play demands two great central performances and Lucien Msamati as Salieri and Adam Gillen as Mozart deliver them in spades. Both characters are deeply sympathetic as well as flawed.

Lucien Msamati appeals directly to the audience from the start (as fellow mediocrities) and we know how he feels. He commands attention alone on stage or rises above a spectacular tumult of music and action seemingly effortlessly. We may not like Salieri but we can understand him. He is our alter ego and who can say that they would not have behaved as badly as he did when provoked by a far greater talent which appeared in the form of someone with no social graces or sense of the politeness and restraint necessary to succeed at court? The rules which he had lived by were being thrown aside. He was good enough to know how far he was surpassed but not good enough to do anything about it and that is a bitter pill to swallow- one that we all have to force down.

Adam Gillen as Mozart is just extraordinary. It is easy to show us the hyperactive, egotistical little upstart and he does, but what makes him extraordinary is that we also see the heart of the music. He is a vulnerable young man who has been denied a normal childhood, made to work frantically with a strict discipline that has left him with a need to let rip. That kind of childhood leaves a scar and he shows us both the genius and the lost child. It is a performance that I will never forget. His costumes are utterly perfect too, which always helps. Adelle Leonce is a perfect wife for him as Constanze- not an easy job- and they make a believable couple.

The director Michael Longhurst took a huge risk in this production and needed all his considerable skills, along with the choreographer Imogen Knight, to marshal both the cast and the South Bank Sinfonia who appear alongside them and play Mozart’s music live. This opens out the text gloriously, making what Salieri is telling us come to life, and allowing us to see the joy and freedom that Mozart finds in his music as he conducts. Their discipline is immaculate and they have been given complex direction, moving around and commenting silently on the action as they play. Their timing is perfect throughout. The design by Chloe Lamford is spectacular. The Olivier revolve and the whole of the space is used to great effect as we are shown different perspectives and viewpoints and the costumes are colourful and witty, period with a twist. It is beautifully organised too- we always know exactly where we should look. This production doesn’t just fill the huge and notoriously difficult space, it commands it and batters it into submission. It is a complex and ambitious concept which was either going to fall flat on its face or soar and it is thanks to the talent and, perhaps even more than that, the discipline of everybody involved that it takes flight.

I think that the biggest compliment I can pay this production is that if I ever see Amadeus again I want it done in exactly the same way and if Adam Gillen can come back and play Mozart again that will suit me just fine.

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Angels in America. Millennium Approaches and Perestroika. Live relay from the National Theatre.

James McArdle as Louis and Nathan Stewart Jarrett as Belize. Production photograph by Helen Maybanks.

“I hate America, Louis. I hate this country. It’s just big ideas, and stories, and people dying, and people like you. The white cracker who wrote the national anthem knew what he was doing. He set the word ‘free’ to a note so high nobody can reach it. That was deliberate. Nothing on Earth sounds less like freedom to me. You come with me to room 1013 over at the hospital, I’ll show you America. Terminal, crazy and mean. I live in America, Louis, that’s hard enough, I don’t have to love it. You do that. Everybody’s got to love something.”
Belize. Perestroika. Act 4 scene 3.

Tony Kushner’s Angels in America is an extraordinary piece of writing, “a gay fantasia on national themes” conceived on an epic scale. It consists of over eight hours of theatre, spread across two plays, telling the story of the early years of the AIDS crisis in America in a way which is both deeply personal and political. It starts traditionally enough before veering off into fantasy and becoming gloriously theatrical in a way that is too rare on stage. There is some blistering dialogue, giving opportunities for the actors that they might wait a lifetime for. It is a flawed masterpiece which overreaches itself, and is certainly in need of an edit, but given what is offered to us it is churlish to say so. We are lucky to see it on stage again as it needs considerable resources and actors of rare talent to do it justice. I missed the National Theatre’s original production back in the nineties and I have been waiting to see it ever since. Given the speed at which it sold out so has everybody else. Thankfully I had never read it and had only a general idea of what was going to happen which made it very exciting. The writing constantly surprised me. It is fearlessly emotional and theatrical, taking unexpected twists and turns, and I was able to relish each of them with a fresh eye. It is an experience so overwhelming to sit through that, with hindsight, it is frustrating that it is not perfect, which reminded me of the quote from Browning’s Andrea del Sarto, “ah but a man’s reach should exceed his grasp or what’s a heaven for?”

Andrew Garfield as Prior Walter. Production photograph by Helen Maybanks

As Prior Walter Andrew Garfield gives one of the greatest stage performances that I have ever seen. Prior’s AIDS diagnosis wrecks his relationship and his settled, controlled life. He is vulnerable, touching, stylish, funny, brave and sometimes desperately angry. It is a part that he will remember, and be grateful for, for the rest of his life. His boyfriend Louis simply can’t cope with what he knows will be ahead of him and bails out. This is a huge betrayal at a time when the gay community were forced to help each other in the face of society’s fear and indifference. I really felt for Louis. He always has something to say about politics, about caring from a distance, but when he is expected to show up and demonstrate some personal feeling in terrible circumstances he finds that he can’t, however much he wants to, and it tears him apart. James McArdle makes him just as funny, poignant and frustrating as he needs to be. We need to sympathise with him while not forgiving him for his betrayal and we do.

This speech, spoken by Roy Cohn a ruthless, amoral lawyer, who is also diagnosed with AIDS is one of the plays darkest moments. It is a terrifying performance by Nathan Lane. He is a Broadway legend but I think I would have known that without being told. It is impossible to watch him without feeling a sense of foreboding.

“Your problem, Henry, is that you are hung up on words, on labels: “gay”, “homosexual”, “lesbian.” You think they tell you who a person sleeps with, but they don’t tell you that. Like all labels, they refer to one thing and one thing only: Where does a person so identified fit in the food chain? In the pecking order. Not ideology or sexual taste, but something much simpler: clout. Who owes me favors. Not who I fuck or who fucks me, but who will pick up the phone when I call. To someone who doesn’t understand this, homosexual is what I am because I sleep with men, but this is wrong. Homosexuals are not men who sleep with other men. Homosexuals are men who, in 15 years of trying, can’t get a pissant anti-discrimination bill through City Council. They are men who know nobody, and who nobody knows. Now, Henry, does that sound like me?”

The hapless, closeted Mormon Joseph- who is way out of his depth when his ambition and frustration lead him to get involved in Roy’s shady dealing- is beautifully played by Russell Tovey. He is in the process of destroying his wife Harper’s life and sanity by being unable to give her the intimacy and attention that she craves and his religion is a source of guilt and confusion rather than comfort. The production gave us a sharper, gutsier Harper from Denise Gough than I would have liked but I can see why that decision was made- especially in the second play.

The character who gave me most pleasure was Belize, an openly gay, transvestite nurse who is brim full of intelligence and New York sass. Nathan Stewart-Jarrett is a breath of fresh air amongst all the suffering and angst, a wise voice who we can rely on to survive. He can speak volumes with a slight turn of the head or a raised eyebrow and I just loved him, and his character, to bits.

The title mentions angels and my goodness there is a spectacular one. Some fine puppetry, designed by Finn Caldwell and Nickine puppetry, provides her wings and Amanda Lawrence provides her dark heart and flamboyant soul, bringing Prior Walter’s delusions to life.

Angels in America must be one of the most difficult directing jobs you could possibly have, even with all the resources of the National theatre at your fingertips but Marianne Elliot is used to big challenges and the long sequences of short scenes are quickly and economically staged allowing the performances to shine. The only part which I might hope to see working better one day was the heaven scene in Perestroika. I would have liked a bit more speed and spectacle at that point. Maybe I just loved that angel too much…………………

There is so much more that I could say. It was just extraordinary……. it really was.