FringeReview Scotland 2025

Amadeus

Strawmoddie Theatre Company

Genre: Theatre

Venue: The Pianodrome

Festival: FringeReview Scotland

Low Down

Review

Decluttering my house a couple of years ago, I decided my old, completely knackered, piano had to make an exit stage left and quickly.  Yet, could I even give it away?  Not a chance.

But then I discovered Pianodrome, the Edinburgh based outfit set up in 2017 by Tim Vincent-Smith and Matthew Wright that upcycles redundant sets of ivories.  Over the years they’ve created what is definitely the world’s first and probably still is the world’s only amphitheatre made entirely from bits of discarded pianos.  One phone call later and my redundant instrument was on its way to meet its maker, its owner delighted that he’d never clap eyes on it again.

That is, until Strawmoddie Theatre’s founder and artistic director Jonathan Whiteside, in a flash of genius, decided Pianodrome was the perfect place to stage Peter Shaffer’s iconic Amadeus.  Which is why I find myself crawling through the Edinburgh rush hour traffic en route to the cavernous warehouse that plays host to these erstwhile instruments, intrigued by the thought that I may be reunited with bits of my old Joanna.  Or maybe end up sitting on it.

For this is a theatre like no other. Three blocks of impeccably tiered seating constructed exclusively from bits of old pianos create a performance space that’s truly “in the round”.   The stage is empty apart from, ‘erm, a piano, although this has all its bits in good working order, as we are soon to discover.

Piano parts are everywhere.  My back rests against a keyboard and my armrest is topped with a pair of rusty castors.  My feet are plonked on a former keyboard cover.  Alas, none appear to be from my ex.

With a full house, we’re packed in like the proverbial sardines as the play starts with a pace, purpose and energy that runs throughout an evening of captivating theatre.  Ageing composer Antonio Salieri starts at the end and works back through his life to the beginning of his relationship and rivalry with one Wolfgang Amadeus Mozart.  One man condemned to a life of luxurious mediocrity, the other to penury with fame and recognition only coming posthumously, courtesy of his widow’s commercial appreciation of the library of brilliant music he left behind.

Salieri is captivated by the genius that is Mozart but, when they eventually meet, is disappointed to find his boorish behaviour is the antithesis of the charm and grace of his compositions.  So begins Salieri’s quest to destroy Mozart and his burgeoning musical reputation.

That’s basically the plot and Shaffer made sure that truth didn’t get in the way of a good story, with his imagined Machiavellian machinations of Salieri outsmarting the efforts of Mozart (and his wife, Constanze) to establish a foothold in society’s musical upper echelons.  Every time.

Matthew Jeffrey’s sure footed direction ensures that attention never wavers as the strong cast weave the tale.  Leading the troupe is the tour de force that is Ben Blow as Salieri, towering over the stage (literally as well as figuratively).  His physical presence lends gravitas to his excellent characterisation and his vocal dexterity (ranging from the frighteningly powerful to the cold and calculating) combines with perfect diction to deliver a bravura performance.

Whiteside’s skillful casting also came up trumps with the Venticello duo, essentially aide de camps to the temperamental Salieri.  Sinclair Davis and Alan Sunter discharge these juicy yet quite technically challenging roles with grace and aplomb.  Their frequent bursts of witty, yet cutting badinage are delivered at breathtaking speed with exquisitely tight cueing, yet both are also very happy to use silence to telling effect as a verbal denouement approaches.  Their movement and use of the tight stage are sublime and their expressive faces wring every ounce of humour and mischief from the material Shaffer gave them to work with.

The pairing of Mozart (the impressively manic Caitlin Carter) and his wife, Constanze Weber (the coquettish, playful Amelia Berry) was also nigh on perfect.  Carter, who also somehow found the time to both Co-Produce and act as Costume Coordinator, was a hyperactive bundle of verbosity, complete with a maniacal laugh that somehow just about stayed on the right side of the hysterical.  An actor with impressive vocal and instrumental talents, Carter’s bickering battle with Blow’s Salieri was one of the highlights of the evening.

Berry showed an impressive command and range of emotions in her portrayal of Weber.  Flirtatious as she and Mozart courted, alluring as she led our two Venticellos a merry dance, empathetic towards her husband as he failed to attain the recognition (and income) he felt he deserved, and cold and calculating as she sought to sell the one thing she possessed to Mozart’s nemesis in a vain attempt to alleviate their penury.

Supporting roles were discharged with commendable efficiency, courtiers being sycophantic and unctuous in equal measure to their lord and master, Emperor Joseph II, played with appropriate grandeur by Jonathan Whiteside.  And Amber Lipman as Katherina Cavalieri (Salieri’s star pupil, muse and, later, mistress) delivered a delightful vignette, getting the chance to display her considerable talents as a vocalist and flautist.

Dug Campbell’s superb soundscape was perfect for both the setting and the play and the costumes, oh, those costumes, were a joy to behold – authentic, bespoke and stunningly beautiful.

There’s so much to admire about Strawmoddie’s take on Amadeus.  Top quality acting, genuine chemistry between the leads, creative staging, supportive sound and the sumptuous costumes all hit the spot.  And the setting itself is quite unique.

It all adds up to a piece of theatre that comes highly recommended, of a genuine “must see” grade.  Or it would be if you could get a ticket.   The short run sold out before it started.  But surely Strawmoddie will have been sufficiently encouraged by this venture to use Pianodrome again?  I still want to find out what they did to my old piano.

Published April 12, 2025 by Tim Wilcock