Philadelphia Weekly

Peter Shaffer's Amadeus is big, bold and long. But for fans of smart, involving drama, the Wilma Theater's three-hour production is worth the time invested.

A supremely well-constructed memory play set in Vienna during the reign of Emperor Joseph II (the amusing Christian Kauffmann), Amadeus focuses on the emperor's court composer Antonio Salieri (Dean Nolen in an effective, workmanlike performance).

Respected and financially successful, Salieri enjoys his status as the finest composer in this "city of musicians." But his carefully guarded reputation is threatened by the arrival of the young upstart composer Wolfgang Amadeus Mozart (Drew Hirshfield). Jealous of Mozart's musical genius, Salieri dedicates himself to discrediting his immensely talented rival.

Salieri (whom we first meet as an old man) insists in the exposition-laden opening scene that he's responsible for Mozart's death. However Amadeus' central question is not whodunit, but rather what price are you willing to pay for fame?

In the play's most affecting scene we see that all of Salieri's efforts to thwart his rival have been in vain. He's impoverished Mozart, but can't temper his musical genius. Destitute and wracked with disease, Mozart creates The Magic Flute--a musical work unlike anything the world has seen. As a horrified Salieri watches the opera, his worst suspicions are confirmed. To Salieri, Mozart's genius appears heaven-sent. And in his attempts to destroy Mozart, Salieri assures his own spiritual ruin.

Although director Jiri Zizka's production is dramatically satisfying, not everything succeeds.Robert Pyzocha's set (a surreal concoction of cobweb-encrusted chandeliers and giant eyeballs) is neither detailed enough to suggest Viennese opulence (Janus Stefanowicz's elegant costumes are superb in that regard) or sufficiently spare to inspire the level of theatricality the play demands.

Nevertheless the performances are strong throughout. In supporting roles Jered McLenigan and Peter Pryor are hilarious as the spooky town gossips known as the Venticelli, and Russell Leib is impeccable as the influential Baron Van Swieten.

Among the principles, Hirshfield captures the childish exuberance and naivete of the young Mozart, and his transformation from nonchalant wunderkind to disillusioned artist is tenderly drawn. And while the role of Salieri isn't nearly as colorful as that of the flamboyant Mozart, Nolen convincingly conveys his character's spiritual descent.

In the end Shaffer falls just short of achieving a level of tragedy that evokes both pity and fear. But while Salieri's tale never terrifies, it does stimulate. Zizka's staging adeptly recognizes the play's myriad subjects, and by embracing Amadeus' complexities and scope, the Wilma gives audiences a production to savor.

Amadeus
Through Oct. 27. $40-$52. Wilma Theater, 265 S. Broad St. 215.546.7824. www.wilmatheater.org

>>Footlights

Out of This World

You could attend local theater every night for a year and not witness a finer performance than that given by Jennifer Childs in 1812 Productions' staging of Jane Wagner's The Search for Signs of Intelligent Life in the Universe. Since its debut in 1985, Search for Signs has been remembered not so much for Wagner's script as Lily Tomlin's legendary performance in the show's original production. But Childs is equally astounding. Of the 19 characters she portrays, 18 are women--but women who differ wildly. There's Trudy, an eccentric homeless woman who entertains a group of galactic visitors; the troubled Chrissie, who worries that she lives on false hopes; a teenager named Agnes, who delivers a spectacular rant reviling her materialistic parents; the delightfully chatty prostitute Brandy and her tough-as-nails co-worker Tina, who transfixes us with a touching story about her gay hairdresser; and a wino named Jim and his faithful dog Princess. The second act is more limited in its focus, but the pace never wanes. Alternating quickly between multiple characters that include a feminist, her liberated gal pals and her ultra-sensitive new-age husband Bob, Childs takes the time to develop each character fully. A poignant celebration of both the mystery of life and our connection to each other, 1812's Search for Signs is a thrilling example of the magic of theater. (J.C.R.) >> Through Oct. 28. $12-$34. Walnut Street Theater, Independence Studio on 3, 825 Walnut St. 215.592.9560. www.1812productions.org