Uncomfortable seating aside, “Amadeus” is worth every minute

By CARRIE NEAL
A Seat on the Aisle

The second the lights go down for Catalyst Repertory’s production of Amadeus, our attention is piqued. Unseen ensemble members are whispering “Salieri” in a way that makes your hair stand on end, and the scene is instantly set. The title of Peter Shaffer’s play is Amadeus, but we’ve been told all we need to know: Salieri is the indisputable star.

As Salieri, Tristan Ross has a gargantuan responsibility; his opening monologue alone, perfectly delivered, seems to be at least five pages long. His imposing stature and sonorous voice seem tailor-made for the role. He morphs from tortured to terrifying in an instant, and is utterly convincing at both ends of the spectrum.

Salieri talks about Mozart for a very long time before we meet him. This is a brilliant device, for by the time Mozart finally bursts onto the scene, we’re dying to see what he’s really like. As Amadeus, Ian McCabe does not disappoint. He’s effervescent, mercurial, and winsome, swinging rapidly between kindness and cruelty, exultation, and despair. His performance plumbs unexpected emotional depths, particularly in act two.

(From left) Mozart (Ian McCabe), Katerina Cavalieri (Shelbi Berry Kamohara), and Salieri (Tristan Ross). (Photo provided by Catalyst Repertory)

The third star of the piece is Michelle Wafford as Constanze (Stanzi), Mozart’s wife. Their relationship is a nuanced portrait of marriage, and the trajectory of her character’s journey is just as significant as those of the two men. In Wafford’s hands, Stanzi’s journey from lighthearted coquette to disillusioned wife is heartrending and realistic.

It’s a treat to see so many venerable Indy actors sharing the stage. Doug Powers, J. Charles Weimer, Craig Kemp, and David Mosedale are all delightful in their scenes together, particularly Mosedale as Emperor Joseph II. And the overall tone of the piece is greatly enhanced by the effortless vocals of Shelbi Berry Kamohara, most especially her “Lacrimosa.”

Director Casey Ross is a Renaissance woman, for she also designed the beautiful period costumes, alongside wig designer Cheryl Harmon. Delightful anachronistic touches, such as Mozart’s metallic pink high-tops, provide a nice punch, and Harmon’s wigs are spot-on.

The thought often strikes me when reviewing that 21st-century attention spans aren’t very compatible with 20th-century plays. This feels especially true in the perennially uncomfortable seats of the IF Theatre. Despite seasoned performers, inventive set design, and gorgeous costumes, the play feels long. This has little to do with direction or vision; Peter Shaffer was simply writing for a 1979 audience (and again, those chairs don’t help). But Amadeus is clearly a labor of love for director Casey Ross, who is also the artistic director of Catalyst, and it is worthy of your time. Amadeus runs at the IF Theatre through May 17, and tickets may be purchased online at indyfringe.org.

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