Review: AMADEUS at EPAC

When I learned that EPAC mainstay, Jordon Ross Weinhold, was starring in Amadeus, I automatically assumed that he would be playing the title role. Weinhold has a reputation (and a gift) for manic characters. Roles such as Banjo (The Man Who Came to Dinner), Shakespeare (Something Rotten) and the D'Ysquiths (A Gentleman's Guide to Love and Murder) all exemplify the hyperactive nuttiness associated with the show's depiction of Wolfgang Amadeus Mozart.

Imagine my surprise, when the show starts, and I began to realize that Weinhold wasn't playing Mozart, but rather his sour-puss frenemy, Salieri. I had to quickly readjust my expectations.

How did he do? With a performance that is complex, compelling, and sympathetic, Weinhold proves why he is among the biggest talents on the Central Pennsylvanian stage. His ability to metamorphosize from the young Salieri to the elderly one was amazing. Changes in voice, posture, facial expressions, and pacing were used to great effect. I was also impressed with his command of line delivery. Among many lengthy monologues, not one detectable line dropped or repeated. A seasoned pro.

Mozart was played by Ben Galosi. Galosi has a sharp wit and is a powder keg of energy. He makes some strong choices in his acting that pay off. His characterization of Mozart is also complex yet quite nuanced. He is not just some whimsical prodigy. There is a little bit of darkness in his unpredictability. With the unpredictability comes a sense of danger. Maybe he should let Warner Brothers know of his availability for the upcoming Joker sequel.

Maya Burdick is charming as Constanze. She plays the doting wife very effectively. She loves Mozart, while she may not always like him.

The other 11 cast members provided welcomed support and give the show additional depth. Favorites include Preston Schreffler and Rogan Motter.

The costumes and sets of Amadeus are a feast for the eyes. The period authentic wardrobe was both elegant and impressive. The faux-marble floors and the plethora of chandeliers elicit the "wow factor". Kudos to the unified vision of the entire design team.

My sole criticism is that it is a long show. I admit to checking my watch once or twice during some of the longer monologues. I find it ironic that this 3 hour plus play has a scene where the Emperor says that while he loves Mozart's music there were simply "too many notes".

Well, there it is.

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