Saving Mozart ★★★★
The life of one of the world’s most famous composers is reimagined in a new musical, Saving Mozart
There’s something quietly thrilling about sitting down to a new British musical (albeit one that has already been performed to critical acclaim in Europe), especially one that doesn’t feel the need to apologise for its ambition. Saving Mozart, now playing at The Other Palace, is exactly the kind of bold and tuneful piece of new writing that gives you hope for the future of musical theatre in the UK. At a time when the industry faces more and more challenges, rising costs and dwindling funding, it is essential that new writing is given the opportunity to flourish.
Set in 18th-century Vienna, Saving Mozart follows the often-turbulent life of the great composer through the lives of those who loved, lost, and loathed him. And while the framing narrative may not be the most revolutionary, the heart of this production beats a strong rhythm thanks to a score packed with memorable melodies, and a few moments of genuine musical-theatre magic. The show is by no means perfect, one or two songs drift into the forgettable and there are missteps in the casting, but when the music soars, it delivers a symphony truly worthy of the great man himself.
Leading the cast with charismatic flair is Jack Chambers as Wolfgang Amadeus Mozart himself. Chambers delivers a performance fizzing with energy, vulnerability and just the right amount of arrogance. This is a fresh, young, unapologetic Mozart that an audience will fall in love with, even when he’s at his most infuriating. It’s fair to say there is some lack of maturity from Chambers in his portrayal of the latter part of Mozart’s life, but on the whole, it doesn’t detract from his stand-out performance.
Opposite him, Erin Caldwell gives a powerhouse turn as Constanze Weber. This wonderful and somewhat mesmerising actress is strong-willed, witty, and has a voice that brings the house down on two occasions after her introduction in Act 2. The only criticism we have is that she didn’t join the storyline sooner, but that’s not how chronological storytelling works!
Jordan Luke Gage delights as Antonio Salieri, bringing delicious note-perfect vocals to the would-be rival, although considering Gage’s talent and industry profile, he’s regrettably underused in the production. But this doesn’t take away from what he delivers when he is on stage.
Less successful, unfortunately, is the portrayal of Leopold (Douglas Hansell) and Anna Maria Mozart (Gloria Onitiri). Whether due to a misjudged performance or unclear direction, the characters land flat, with almost no acknowledgement of each other, let alone love or charisma, and are sadly are a notable dip in an otherwise strong cast.
The undisputable star of this show though is Aimie Atkinson (BBC Radio 2’s Voice of Musical Theatre and most famously one of the six original wives in the hit musical SIX) as she stuns as Nannerl Mozart. Often overlooked in the wider story of Wolfgang Mozart, Atkinson’s portrayal is a revelation, her voice stunning and her storytelling is clear as glass. There is little to critique, other than, again, wishing she was on stage more.
The marketing of this show promises to discover the stories of the women who shaped and, as the title of the show suggests, saved Mozart’s legacy from extinguishing after his untimely death at just 35 years old. Whilst his prodigy sister (Nannerl) and powerful wife (Constanze) are featured heavily in this show, they don’t feature front and centre as the wives in SIX do. Considering the talents of Caldwell and Atkinson, this is somewhat disappointing as two hours of those two commanding and never leaving the stage would be bliss.
Co-Director and Choreographer, Taylor Walker, conducts the show’s ensemble valiantly, and uses every inch that the Other Palace’s stage has to offer visually to excite its audience. While filling nearly every scene with choreography could come with risk of an over-produced show, Saving Mozart thrives on such kinetic richness.
Credit must be given to this focused, stellar, and talented ensemble cast. Anu Ogunmefun is a standout performer in this show, despite minimal stage time. Her execution of the ambitious choreography and the few lines of script she has are delivered flawlessly from start to finish.
The production boasts a striking sense of design. Justin Williams has created a world that feels fresh and almost dreamlike, with an inspiringly clever use of the restricted space. Costume designer, Julia Pschedezki, complements this beautifully with rich fabrics and evocative detail that doesn’t distract but enhances the quality of the show.
A symphony of standout songs and strong performances – ★★★★ 4 stars
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