Review: Saving Mozart, The Other Palace

These days, alternative versions of history prioritise people (usually women) who’ve been overlooked in favour of those conventionally deemed more significant (usually men). It’s an interesting, legitimate perspective, and here, musical genius Wolfgang Amadeus Mozart’s story is framed primarily by those of his older sister Nannerl, his father Leopold, and his wife Constanze.

The first Mozart we meet is not the cocky wunderkid from Peter Shaffer’s play Amadeus, but Nannerl: an older, more accomplished musical prodigy riding high on her talent and eager to impress the world. She’s a devoted big sis to her little bro “Wolfie”, encouraging him to continue his own development despite the harsh discipline of Papa Mozart, who drives his children hard to succeed. Fame costs, and this is where they start paying…

Mama and Papa Mozart leave Salzburg to tour Europe with their talented tots, making a name for themselves and hoping to secure lucrative royal patronage. Things don’t go too well, but the family’s ambitions remain undimmed despite setbacks.

A turning point arrives when Nannerl comes of age and is told that performing for a living is deemed socially unacceptable for a woman. She very reasonably asks Papa Mozart, “What was the point?!”, but there’s no arguing with society: it emerges that her role was to cultivate Wolfie’s talent so the boy could succeed. It’s a chilling moment, even as Wolfie pledges to honour Nannerl’s influence.

Later, we meet Wolfie’s wife-to-be Constanze, a singer who stands by him through his impoverished struggles and without whom the Mozart legend would never have survived across the succeeding ages.

To write a modern pop musical about one of the most significant classical composers ever invites some pretty challenging comparisons. But Saving Mozart’s creator Charli Eglinton has a fine ear for a melody and a stirring chord sequence, so in this context, her songs don’t let the side down. She also throws some Mozartian references into her arrangements, which helps add kudos, though she perhaps relies a bit too much on jaunty handclaps that become rather overfamiliar as the show progresses. Eglinton is a far better composer than she is a lyricist, however, and could benefit from finding a collaborator to add more originality to the words.

The songs are well-served by a cast featuring some very impressive voices. As Mama Mozart, Gloria Onitiri owns the stage with the passionate ‘He’s Only a Child’, channelling the emotions of a protective mother to blistering effect. Douglas Hansell contrasts Papa Mozart’s sterner moments with touching tenderness, Jack Chambers does a good job as Wolfie, and Jordan Luke Gage pops up infrequently but eye-catchingly as Antonio Salieri, who in this version of events is less arch-manipulator and more obstructive bureaucrat.

Set designer Justin Williams has devised a striking but unobtrusive backdrop formed from a modish capital M, and Julia Pschdezki’s costumes are a fetching monochrome mix of heightened period stylings worn in a contemporary fashion. It’s the sort of vibe which has Salieri’s frilly black shirt gaping to the naval, but I wasn’t complaining.

A less satisfactory aspect is the choreography. A near-constant progression of gestural dancing fills the stage, with chairs and tables in seemingly perpetual motion. It’s as though there’s a lack of faith in the story being sufficiently dramatic to hold the audience’s attention. More moments of stillness to let the characters breathe might help us focus on the challenges they’re experiencing.

Those interested in Mozart’s story will probably enjoy this telling of it. The emphasis on Nannerl and Constanze isn’t really a seismic shift away from the established history of the composer, but this is an interesting and tuneful addition to that history.

Book, Music & Lyrics: Charli Eglington
Director: Markus Olzinger
Choreographer: Taylor Walker
Costume Design: Julia Pschedezki
Set Design: Justin Williams
Producers: MCG Productions, Takyo Broadcasting System Television, Sonia Friedman Productions & CJ De Mooi

Saving Mozart plays at The Other Palace until Saturday 30 August.