Peter Shaffer’s Amadeus revisited: It brilliantly captures the conflict between Salieri and Mozart

Theatre Lab’s revival of Amadeus was met with much anticipation, as its first successful production in 1981 is still remembered. Regarded as one of the best modern plays, Amadeus deserves periodic return to the stage. And, producer Arjun Sajnani’s meticulous production values did it justice when it was staged last weekend.

Peter Shaffer’s play skillfully weaves existential concerns and religious crises into a brilliant script. The essence and ironical strength of the play is Salieri’s situation — mediocrity is his tragic fate, but it enabled him to recognise Mozart’s phenomenal genius.

High drama arises from Salieri’s conflict with God. ‘Music is God’s art’, and young Salieri makes a bargain with god, praying that he bestows him with the gift of musical genius, in return for a life of virtue and glorification of God.

Enter Mozart, and that equation totters. Salieri berates his ardently-worshipped God for choosing to bestow that gift on this crude, infantile buffoon, ‘Amadeus’ — beloved of god.   

The scene of the court watching Mozart’s opera
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Special Arrangement

Wrecking revenge on the god who has failed him, Salieri attempts to destroy Mozart’s reputation and career, and even poisons him. Eventually, a frustrated, defeated Salieri resolves to end his life; but is unable to carry it through.

It is left to the audience to judge whose predicament is worse — Mozart, reduced to alcoholic penury, his work unrecognised; or the tragic Salieri, who ends up as ‘god’s joke for eternity. God grants Salieri the fame he sought, but it is a hollow recognition of his average, commonplace talent. Ironically, Salieri is the only contemporary of Mozart’s who recognises his genius. Mozart’s reputation was established shortly after, in part due to his widow Constanze, who sold his manuscript music, charging per note.

Arjun’s production had the impact the play’s author intended. The audience was swept up with emotion as the main characters embodied the essence of their roles. Vivek Madan did justice in his excellent portrayal of Salieri — a demanding role that kept him on stage almost throughout the play, projecting a range of emotions.

Constanze berating a desperate Mozart
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Special Arrangement

Mozart’s was a showier and a more varied role — Darius Sunawala brilliantly captured the prodigy’s conflicting characteristics, a spontaneity that was offensive yet charming. The essential interchange and conflict between the two main characters was admirably executed. Susan George, as Constanze Weber, Mozart’s long-suffering but canny wife, inhabited her role splendidly. However, the clarity was, at times, patchy. The ‘Venticelli’ often spoke too fast, in an attempt to be the ‘little winds’ who blew in with wisps of gossip. Characters that spoke above the background music were not always audible.

The supporting cast was competent. Shivam Vig’s slight and unkempt appearance did not conjure the majestic presence of Emperor Joseph II, nor did he capture the foolish charm and fatuous remarks that elicited false sycophantic laughter of his courtiers. They, too, did not establish that sparkling Viennese court atmosphere nor the stature of their powerful positions. 

Arjun has made good use of technology to enhance his productions, without letting it overwhelm the essential action. Clay Kelton and his team projected stunning visuals, setting scenes for sumptuous interiors, opera houses and churches, and street scenes. Likewise, Pradeep Belawadi  and his technical coordinators ensured the lighting was spot on, creating the necessary menace for the nightmare-cloaked figure, or suggesting heavenly realms when Salieri collapses in an ecstatic faint, on “hearing” Mozart’s divine Great Mass in C minor.

Clay Kelton and his team projected stunning visuals on the stage
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Special Arrangement

When he visualised Amadeus, Shaffer, an ardent Mozart fan and opera lover, chose the music with care, simultaneously saturating our visual and auditory senses while engaging our mental comprehension of the action. Evelyn Kelton’s Sound team added the musical element with sensitivity and perfect coordination. 

Published – February 27, 2026 02:24 pm IST