Also see Ann's review of The Big Bang
Abatemarco finds a sound base from which to play Salieri. A seething jealousy and paranoia are conveyed clearly yet without overtness. His is a compelling portrayal of a tense, calculating and self-doubting man. Doran plays up Mozart's eccentricities without going over the top, and he conveys the perplexity felt by the confident composer, due to his lack of acceptance and success. The two actors are supported well by Daina Michelle Griffith as Constanze Weber (married to Mozart), Karen Baum as voice pupil Katherina Cavalieri, Kendra McLaughlin as Salieri's wife and an ensemble of dependable and versatile actors.
A most enjoyable part of attending a Public show is the excitement felt as one makes the turn to enter the theatre on the stage level, in anticipation of viewing from the distance of only a few feet, the set that has been constructed for the show. James Noone's set for Amadeus is one of a number of his designs which makes that revelation a breathtaking one. The floor is a beautiful parquet with a harp inlaid in the center. The detailed back wall shows stately columns and three sets of golden doors. Kirk Bookman's atmospheric lighting adds even more dimension, including a brilliant effect on the painted cherubs that hang above the back wall. Beautiful chandeliers hang from the ceiling, and sconces appoint the side walls, over the right and left areas of seating. Only a minimum of essential props and movable set pieces are necessary to complete the stunning look. Noone's designs do not overtake the productions; they are fascinating to admire before and after, but they integrate perfectly, enhance but not upstaging, when the players take the stage.
Costumes by Susan Tsu are equally impressive. Each outfit is detailed and meticulously made, and a variety of styles are utilized. Perhaps also under the guidance of Tsu, the players' wigs are realistic and well-fitted; all too often the opposite is the case, but these are notably well done.
Once again, Ted Pappas shows a joy of theatre through his direction. There's not a lazy moment in the production, and he puts all of the pieces together with his own lovely orchestration.