Why I will always remember this play: FOUR YEARS AGO, Nov., 2016, on election night, I went to see a production of it at a small local theater in Southern California with my mother. We were talking about it just a couple of days ago because of the election, recalling where we were when Donald Trump was elected president. I think that there was even more fervor then, when the shock descended in realizing that he had indeed been elected. I remember quite distinctly two rather aged women sitting behind us, decked out in their sequined gowns, furs, dripping with jewelry, the whole bit, discussing in hushed tones their lack of surprise, really, that Trump had been elected. I remember one of them saying, in a totally grand-dame voice, "well, I voted for him, you know... I just cannot abide that woman. She is just so... obnoxious!"
Well, knock me over with the weather!
Back to the play: yes, it's a good one, although it's somewhat difficult to visualize scripts, for me, at least, but you have something to go on. Even more famous was the immortal motion picture version, which hasn't really aged at all, because it was so well done, even though it's not entirely faithful to the theatrical version. The entire thing is a work of historical fiction, of course, and it always irks me when people start talking about Mozart in these terms, as there's no evidence (rumors aside) that any of the major plot lines are accurate. Mozart was really the first modern "rock star," and suffered all the maladies which accompany fame, if not fortune, in his case.
I would be happy to write an extensive history lesson here, because he's a figure I've been fascinated with since childhood (I started violin at age five, partly because I had been raised on a steady diet of classical music since birth!), but that's probably out of place here. I will just summarize by stating that we are so fortunate, indeed, to have had him with us for any time at all, really, because he was such a frail and sickly child, who was read the last rites and expected to die, on multiple occasions, as both an adult and a child, before his actual untimely demise at age 35. I've been to both Salzburg and Vienna, so I've been fortunate to see many of the actual places associated with him.
Mozart is a fascinating historical figure, but I'm not sure how accurate the portrayal is in the play, though it works, somehow. This is essentially Shaffer's vision of an innocent (though he hardly was in real life) prodigy, who is caught up in the murderous machinations of a jealous rival, whom he essentially unseats from his place of prominence in the City of Musicians, which leads to the former's unfortunate demise at the hands of the cunning killer. I think the play does accurately highlight some of the Mozarts' struggles, financially and personally, and the rather ambivalent relationship that he had with his overbearing father, Leopold, who seemingly dragged his frail and frequently-ailing kid all over Europe, vicariously living through his famous son for his own self-aggrandizement. Nor is much made of Mozart's almost equally talented sister, of whom there is little if any mention.
Notwithstanding the issues, it's great to have access to the original script of the play, for comparative purposes, if nothing else. I also highly recommend seeing this production, if it's being shown anywhere, although its popularity seems to have waned somewhat in recent years.
Well, knock me over with the weather!
Back to the play: yes, it's a good one, although it's somewhat difficult to visualize scripts, for me, at least, but you have something to go on. Even more famous was the immortal motion picture version, which hasn't really aged at all, because it was so well done, even though it's not entirely faithful to the theatrical version. The entire thing is a work of historical fiction, of course, and it always irks me when people start talking about Mozart in these terms, as there's no evidence (rumors aside) that any of the major plot lines are accurate. Mozart was really the first modern "rock star," and suffered all the maladies which accompany fame, if not fortune, in his case.
I would be happy to write an extensive history lesson here, because he's a figure I've been fascinated with since childhood (I started violin at age five, partly because I had been raised on a steady diet of classical music since birth!), but that's probably out of place here. I will just summarize by stating that we are so fortunate, indeed, to have had him with us for any time at all, really, because he was such a frail and sickly child, who was read the last rites and expected to die, on multiple occasions, as both an adult and a child, before his actual untimely demise at age 35. I've been to both Salzburg and Vienna, so I've been fortunate to see many of the actual places associated with him.
Mozart is a fascinating historical figure, but I'm not sure how accurate the portrayal is in the play, though it works, somehow. This is essentially Shaffer's vision of an innocent (though he hardly was in real life) prodigy, who is caught up in the murderous machinations of a jealous rival, whom he essentially unseats from his place of prominence in the City of Musicians, which leads to the former's unfortunate demise at the hands of the cunning killer. I think the play does accurately highlight some of the Mozarts' struggles, financially and personally, and the rather ambivalent relationship that he had with his overbearing father, Leopold, who seemingly dragged his frail and frequently-ailing kid all over Europe, vicariously living through his famous son for his own self-aggrandizement. Nor is much made of Mozart's almost equally talented sister, of whom there is little if any mention.
Notwithstanding the issues, it's great to have access to the original script of the play, for comparative purposes, if nothing else. I also highly recommend seeing this production, if it's being shown anywhere, although its popularity seems to have waned somewhat in recent years.
