Genius. Jealousy. Revenge. So goes the story of Wolfgang Amadeus Mozart. Directed by George McMillan and co-produced by Danny Cabubas and Elodie Roumanoff, Amadeus is another success in what has been a year of stellar productions by the Sydney University Dramatic Society (SUDS). A blend of high drama and dark comedy, Amadeus examines the rivalry between Antonio Salieri, a distinguished composer for the Austrian Emperor, and Mozart, the musical prodigy who is as obnoxious as he is gifted.

Peter David Allison bookends the production as the elderly Salieri, his booming, bellowing voice setting the bar high from the outset. We soon meet the young Salieri, expertly brought to life by Tom Findlay, who acts as the play’s narrator. Findlay’s Salieri oozes a sly, sophisticated charm that juxtaposes well against the nervous, manic energy that Michael Weate brings to Mozart. Weate is strongest when acting alongside Abigail Bobkowski, who plays Mozart’s lover, the spritely Constanze. Bobkowski is spritely and fun in the role, perfectly capturing Constanze’s wide-eyed innocence. The lively chemistry between them upholds the production’s upbeat tempo; they play their relationship big, but it always remains believable.

Emma Kulish and Nicola Weiss are perfectly cast as the Venticelli, a pair of servants who glide between scenes to offer witty advice, observations, and occasionally break the fourth wall. Mali Lung is joyfully camp as Emperor Joseph II, spurring some of the production’s most comedic moments. Jadzia Stronell, Nasrin Keast, and Luna Ng also shine as members of Austria’s ostentatious aristocracy, starring as a stern Count, a pompous Italophile, and a gruff Freemason respectively. Their impressive character work keeps the more dialogue-heavy scenes exciting and engaging to watch.

Music is at the heart of Amadeus, and Jacob Lawler’s sound design aptly conjures the tone of the show. Filled with big, sweeping orchestral numbers, the music accentuates the drama that unfolds on stage, while selections from Mozart’s actual body of work let the audience experience his genius alongside the characters. The production’s many set transitions are skillfully coordinated by stage manager Mia Achhorner, ensuring that the upbeat tempo established by the cast doesn’t dissipate between scenes. The set design is conventional, yet gives the cast space to perform. Courtney Jade Goodman’s lighting design ably establishes the atmosphere for the tense moments of the production, as well as Salieri’s many monologues.

The most impressive aspect of Amadeus is the work that has been put in by the costume and makeup team, led by Mariika Mehigan and featuring Victoria Gillespie and Eleanor Douglas. They fully embraced the production as a period piece; their designs were bold, flashy and flamboyant, and well-suited to each of the characters. The members of the court each don colourful coats that compliment their personalities; Salieri is — quite literally — green with envy.

Adapting Amadeus to the cramped confines of the Cellar Theatre is no easy task. Previous productions (such as its Tony-winning Broadway run or its 1984 Oscar-winning film adaptation by Miloš Forman) have relied upon colossal, ornate set pieces to accentuate the play’s grandiosity — sets that are far out of the price range for those working on the standard SUDS budget.

Yet the cast and crew have made the most of the limited space at their disposal. This Amadeus is close, it’s intimate, and as a result it’s at its strongest when it embraces the claustrophobia of the Cellar. We find ourselves glued-to and embroiled-in the scandal that unfolds before us on stage. One of the funniest moments was when Salieri — and the audience — are forced to awkwardly watch on as Mozart and Constanze indulge in feline-centric flirting with each other.

If I had to level a criticism against what was an otherwise fantastic production, it would be its length. At just over three hours (including a fifteen minute interval), Amadeus is certainly the longest SUDS show that I’ve seen. Although Peter Shaffer’s script is undeniably strong, some moments, such as segments from Salieri’s numerous (and admittedly repetitive) monologues, could be edited to shorten the runtime. Thankfully, the high energy brought by the cast ensures that the production never gets boring.

The team behind Amadeus have crafted a production that lives up to the high standard set by those that have preceded it this year. Rife with new talent, those involved should be immensely proud of what they have accomplished and remain in SUDS for shows to come.

Review: SUDS’ Amadeus — A Requiem for Success

The latest SUDS production hits the right notes.