Ian Barford in Amadeus at Steppenwolf Theatre (Photo by Michael Brosilow)
Recommended
In Latin, Amadeus is translated as “love of God” or “beloved by God,” ascribed as a formalized derivation of famed composer Wolfgang Amadeus Mozart’s middle name.
“Amadeus” the play presented at Steppenwolf Theatre is a story of two men, one believed to be beloved by God and one who believed he could negotiate through prayer to win God’s love.
On the surface it is easy to assume this is a biographical sketch of Mozart. Indeed, the story written by Peter Shaffer does allude to the final years of the composer’s life. But actually, this is a story of one man’s envy of another man’s apparent God given talent.
Ian Barford lends his own exceptional skill to the character of Antonio Salieri, court music director in Vienna at the time of Mozart’s arrival in 1781.
The young composer moved to the city as a freelance musician, confident that his notoriety would provide access to influential members of society needed to build a career.
Winning the favor of Salieri along with Kapellmeister, Giuseppe Bonno (Robert Breuler), Baron Van Swieten (Yasen Peyankov) and Emperor Joseph II (Gregory Linington) would be essential to Mozart’s success.
Linington is perfectly imperious, adding a bit of comic relief as the regal dilatant whose enthusiastic passion is greater than his actual musical knowledge.
I enjoyed how periodically, the court entourage seamlessly slipped in French, German and Italian phrases and short conversations to display their global sophistication and secret plans; no doubt aided by dialect coach Kate DeVore.
The impertinent Mozart, brilliantly played here by David Darrow, is portrayed as an arrogant even silly manchild. It is revealed that the social and interpersonal skills of the former prodigy have been stunted by his overbearing father who managed his life up until this time. This has left the young man, now himself a father and husband, unable to manage his own affairs.
As a result, he is misguided by the scheming Salieri and allows others to easily take advantage of him, ultimately leaving him destitute, sick and dying at an early age.
His only solace is his nearly equally immature, devoted young wife, Costanze, tenderly played by Jaye Ladymore. She offers what she can to advance his career and encourage her genius husband. However, her “Wolfy” is consumed with his work and in desperate despair over their financial condition as well as his failing health.
Salieri’s appearance in the lifeline of Mozart is based loosely on an unsubstantiated myth that he poisoned Mozart resulting in his early death. It is suggested here however that, murderer, or not, Salieri may have been guilty of poisoning the young musician’s prospects for financial success.
Bradford does yeoman’s work providing the bulk of the heavy lifting in this production directed by Robert Falls. It is essentially a long narrative from the point-of-view of Salieri delivered in a declarative as opposed to extemporaneous stye that leaves it sounding just bit “one note.”
Salieri is the important steady beat while Mozart is the melody that adds life to this theatrical composition.
Ora Jones and Sawyer Smith as Venticello I & II offer a kind of leitmotif, appearing and reappearing as spies and observers who whisper like a gentle wind in the ear of the envious Salieri.
The chorus of dignitaries as well as the citizens of Vienna (Andrés Enriquez, Jodi Gage, Michael Kingston, Aaron Kirby, Greg Komorowski, Matt Miles, Aja Singletary) are a generally quiet but powerful presence.
The costume design by Amanda Gladu featuring impeccable tailoring and luxurious fabrics, along with amazing hair and make-up, were extraordinary. With the exception of Mozart’s fuchsia tinted wig, I have to believe each person on stage could easily walk into any fashionable soirée in 18th century Austria without any suspicion that they were visiting from the future.
Scenic designer Todd Rosenthal met the challenge of this production in-the-round by cleverly utilizing the ceiling to affect a period atmosphere. It featured a lighted stained-glass inspired center panel that provided a point of focus to Salieri’s religious devotion.
Music is central to this story and the pre-produced performances of Mozart compositions augmented by original music by Mikhail Fiksel are supervised by Connor Wang. I could find no credit related to the performers responsible for the recordings. There are two surprising and delightful harpsicord numbers performed on stage by Barford and Darrow.
Mozart’s music is used fundamentally to expose Salieri’s self-loathing, allowing him to reflect on the young composer’s superior talent relative to his own perceived mediocrity.
It also serves to introduce the audience to the compositions Mozart created during this period of time, most notably, The Marriage of Figaro, Don Giovanni, The Magic Flute and his Requiem to which Salieri exclaims, “This will help the world to mourn for eternity. (approximate quote).”
This is an interesting and entertaining approach to biography and history though certainly fanciful while retaining a number of essential truths.
The production will no doubt be of interest to lovers of classical music and music history buffs in general as well as those who enjoy a good theatrical tale well performed. There are some adult themes that may not be appropriate for all ages (I would say 15+ by today’s standards might be safe).
Details: Amadeus, is at Steppenwolf Theatre, 1650 N. Halsted Street, Chicago, IL through January 25, 2026. Run time is 2 hours and 45 minutes including one intermission. Visit Steppenwolf.com for tickets and information.
Reviewer : Reno Lovison
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