Visually arresting, it’s a sweeping emotional account of how the equally talented sister of Mozart was almost written out of classical musical history – until now that is!Rating
Excellent
The Omnibus Theatre in Clapham has struck gold again with the highly inventive production of The Other Mozart. Created, written, and performed by Sylvia Milo and directed by Isaac Byrne, both have been widely lauded from New York to the Edinburgh Festival, and rightly so.
They bring to the stage a narration of many of the letters and correspondence between the Mozart family. With some enticing storytelling, they reveal the lost and overlooked talent of Maria Anna Nannerl Mozart, the equally talented sister of her brother Amadeus. Both were prodigy and virtuoso players at an unreasonably early age. There was nothing to distinguish between their talents, though perhaps because Amadeus was so young with hands not yet fully formed, he adapted with tricks and physical flair to cover the stretch of the keyboard. Both composed and performed throughout Europe, courted and hailed as the genius of their day. Only one thing distinguished their musical gifts: gender!
As soon as Nannerl reaches puberty, she is pushed back home to work with an ageing mother to find her a husband of note. She is pained as she longs for appreciation, first from her father and then her brother. Milo fittingly captures the desolation and disappointment of the times, and as Mozart and his rather silly wife seem to amuse and take the European courts by storm with his outrageous talent, she is left on the bench and never called upon. Milo takes the audience on a journey of memorable storytelling, at times narrating letters, at times characterising members of the family, all with an engaging intensity and commitment. She delivers quite subtle vocal modulations to draw us into this overlooked talent, though at times, the emotional or situational changes and developments are not always vocally robust enough to drive the piece to new heights.
The costume design by Magdalena Dąbrowska and Miodrag Guberinic is inspired – imaginatively elaborate, using elements of the caged crinoline to be eye-catching and stylish for the period, indicating success yet constraint. She wires herself into the dress only to be confined, restricted, and reduced by home life and marriage. Added to this, the surrounding swirling layout of the dress also houses a range of letters and small props, all easily accessible, and the image of being weighed down in paper, either of manuscript or messages, is powerful.
Milo has a physicality which is limited in expression but suits the piece as she delicately twirls with revolving arms, wrists, and hands, exuding a controlled movement almost like an isolated ballerina in a music box. Movement is directed by Janice Orlandi, who helps create the images of a woman dwarfed by the times around her; sidelined by her father, ignored by her husband and stepchildren, then overshadowed by her male counterpart.
The unseen and dominating character in the piece, of course, is the music of Mozart. This is judiciously and evocatively used at moments to almost bewitch us. The mix of on-stage music soundscape, composed and designed by Nathan Davis and Phyllis Chen, is atmospheric and suitably dominant – it is so powerful when the music is loud enough for us not to hear the voice of Maria Anna Mozart, which, of course, is perfect for the time and situation.
No voice, no identity, no Maria Anna Nannerl Mozart.
Written by Sylvia Milo
Directed by Isaac Byrne
Music composed by Nathan Davis and Phyllis Chen
Additional music by Marianna Martines, Leopold Mozart & W.A. Mozart
Movement Director Janice Orlandi
Costume design by Magdalena Dabrowska, Miodrag Guberinic
Sound design by Nathan Davis
Lighting Design by Joshua Rose
Hair Design by Courtney Bednarowski
Stage Management, hair and makeup by Kodi Lynn Milburn
Presented by Omnibus Theatre and Little Matchstick Factory
The Other Mozart plays at Omnibus Theatre Clapham Common until Saturday 18 April
