"Amadeus' at the Walnut

Amadeus, Peter Shaffer's 1979 Mozart novelty, doesn't work any more. During its new production at the Walnut Street Theater I was figuratively looking at my watch.

Shaffer's Emperor Joseph II famously complains that Mozart's music contains "too many notes." Shaffer's Amadeus contains far too many words.

To be sure, Shaffer's concept is clever. The Hapsburg court composer, Salieri, envies Mozart's greater talent and success. Salieri is furious with God, who, in Salieri's view, should reward his religiously observant self rather than a vulgar upstart. The irony of Mozart's middle name— Amadeus means "loved by God"— is a hackle that sticks in Salieri's throat.

The point having been made, Salieri reiterates it for two and a half hours.

The play's original attraction lay in its revelation of details in Mozart's life (albeit as viewed through Salieri's eyes). In the intervening years, most of the world has seen enough biographical documentaries to know most of the facts and legends about Mozart, so the play no longer can count on that appeal.

This is a fault of the script, not specifically this production. I noticed the same flaw in a revival of another Shaffer play, The Royal Hunt of the Sun, in 2006 at the National Theatre in London. That work about Pizarro's conquest of the Inca Empire boasted a spectacular first act but proceeded to drown in its verbose second-act dialogue.

The Walnut has provided a beautiful set for Amadeus, with lavish costumes and gorgeous old pianos that move on and off stage. Shaffer's script provides a quirky take on Mozart and his wife (colorfully played by Rob McClure and Ellie Mooney) and some wicked one-liners.

But Dan Olmstead's interpretation of Salieri is one-note. Salieri could be portrayed with sadness and/or resignation. When he's irritatingly angry for two and a half hours, our sympathy evaporates.