Catalyst Repertory Theatre, recognized for its innovative programming and under the leadership of Artistic Director and co-founder Casey Ross, staged Peter Shaffer’s dramatic play Amadeus on Saturday at the IndyFringe Black Box theater in downtown Indianapolis.
Amadeus, which won the 1981 Tony Award for Best Play, was also adapted by Shaffer into the acclaimed 1984 film of the same name. The play examines the complex rivalry between the renowned composer Wolfgang Amadeus Mozart and court composer Antonio Salieri. Set in 18th-century Vienna, Amadeus, explores the rivalry between the legendary composer Wolfgang Amadeus Mozart and the court composer Antonio Salieri. The story is told through the eyes of Salieri, who, despite his own accomplishments, is obsessed with his jealousy over Mozart’s astonishing talent and effortless brilliance. Motivated by envy and the perception that he has been unfairly treated by God, Salieri formulates a strategy to undermine Mozart while presenting himself as a supportive colleague. The play examines lofty themes such as genius, mediocrity, and the intricacies of ambition, concluding with a tragic outcome and offering insights into the nature of creativity and legacy.
Adroitly directed by the adventuresome Ross, the strong cast was led by Ian McCabe in the title role, who wowed audiences as brutish Stanley Kowalski in Catalyst’s hit 2023 production. As Wolfgang Amadeus Mozart, McCabe turned in a striking performance as the vulgar, over-the-top genius whose uncouth behavior was in sharp contrast to the stark beauty of his music.
Portraying Salieri as the complex counterpart to the naïve Amadeus, Kristan Ross delivered a commanding performance that was well supported by his notable stage presence. The dynamic between his Salieri and McCabe’s Amadeus provided a compelling display of acting skill. Their scenes together demonstrated a sophisticated grasp of subtext and character interaction.
The production featured vivid performances, including Shelbi Berry Kamohara’s exceptional vocal portrayal of soprano Katerina Cavlieri, Salieri’s pupil; Doug Powers as the supercilious nobleman Orsini Rosenberg; and David Mosedale as Emperor Joseph II, Mozart’s supportive arts patron.
The variety of accents used by the actors, including American and British, detracted from the overall cohesion of the performances. Ross’s and Cheryl Harmon’s costumes distracted me; while most suited the era, some modern touches confused the narrative. Set Designer Arden Foster Tiede deserves credit for crafting a space that allowed innovative blocking. Kairon Bullock’s lighting and Kristan Ross’s & Casey Ross’s sound design, which featured Mozart’s repertoire, were both outstanding.
For tickets and information about Amadeus that continues through May 17 at IndyFringe Black visit indyfring.org.
