Amadeus - Revived

Last night went very well. I had a lot of pressure on me for several reasons; we were being reviewed, we were being filmed, we were being watched by first and third years who were having to study the play and the production. The first act was brilliant as I put a lot of energy into it. The second however lost alot of energy but still went well. We had a full auditorium aswell this time which gave me a proper full house to perform to. This is the review courtesy of theatre in Wales: "Bold design and barnstorming performances Amadeus Aberystwyth Community Theatre Aberystwyth Arts Centre September 26, 2006 The Aberystwyth Community Theatre Group, under the direction of Richard Cheshire, resurrect some potent ghosts from our musical history this week as they stage their revival run of June’s production of Peter Shaffer’s tour-de-force Amadeus. Bold design and barnstorming performances meld in this traditional but strikingly innovative run to give a theatrical experience audiences will remember for a long time. The action takes place in Vienna of the late 18th and early 19th Centuries, as Antonio Salieri, lately court composer to Emperor Joseph II of Austria, reflects in his potential last hours, on his plan to overthrow the talent of Mozart, whom he sees as God’s chosen musical conduit. This is achieved through a mixture of theatrical flashback and ‘present’ time depiction. This all takes place on Stu Art James’s breathtaking set – a faux-marquetry effect flooring with central Masonic device, while the court of the Emperor appears from within an imposing stage-high, flown, picture frame which, through use of curtaining, is its own free-standing and glorious motif. This environment is supplemented by Jac Gough and Cynyr Rhyc’s sumptuous lighting design, which at all points perfectly reflects the play’s emotional tenor, from soaring, golden heights, to cold, gloomy lows on the part of the central characters, and James Ellington’s sympathetic and expertly executed sound design, bringing Mozart’s music crashing, sweeping and whispering into the world h inhabits. Salieri, played by a top-form David Blumfield, was given a highly emotive portrayal. Seamlessly ageing from a man in his dying days to a young, vital musical force and back again, Blumfield gave a galvanising performance which carried the audience at all times and allowed sympathy to be poured onto Salieri’s internal brutality, by deftly exposing his inner turmoil. In an onstage world where frustration and passion grow and dissolve exponentially, Blumfield has the stamina and nous to keep pace without breaking an actorly sweat. The Mozart family, too, were a delight to the eye and ear. Kristofor Darby’s Mozart ever the ‘obscene child’ and, though physically overactive to the point of distraction in the first half, was always vocally engaging and settled well into Mozart’s descent into destitution, illness and paranoia in a performance that marks him out as a new talent to take note of. Similarly, Lizzie Bowen, who played a beautiful, delicate, frustrated Constanze Mozart, gave a performance of such poise and professionalism as to be constantly watchable, with hardly a flicker of doubt in her voice and face. Supporting performances such as those by David Kendell as Emperor Joseph and Colin Adams-Toomey as Count Orsini-Rosenberg added immeasurably to the high drama and occasionally comedy of court life, and were expert foils to the principals, with a wide variety of physical and vocal talents, not least of which being the voice of Roy Leett, who portrayed Baron von Swieten – a voice which rang deep and melodious, giving a stern gravity to many outlandish scenes at court. The play was impeccably directed by Richard Cheshire, who, though not always accounting for sightlines – many effects and stage pictures were geared towards the centre stalls and were almost lost on those at the sides – produced an exquisite and intensely memorable performance of one of the great British plays of the late 20th Century. This was a production which more than did justice to its director, its participants, its author and its subjects, and those of us lucky enough to have witnessed it will not soon forget its gentle subtleties and its powerful forcefulness. A credit to all involved, and to the spirit of solid community theatre. Reviewed by: Paddy Cooper" That was a nice little mention for me. The last play I was in that had been reviewed was 'Twelfth Night' way back in the first year. So anyway I'm in my PJM house at the moment. Its a very nice 6 roomed house with a big kitchen. My room is right nextdoor to craigs which is pretty cool. The most bizarre coincidence is that our house is right nextdoor to Nicki and Emily's. Right I better start getting ready now. At 7.30 tonight I will perform my last production of Amadeus.