The short but dramatic life of one of history’s most famous composers gets another retelling in Saving Mozart, a new musical at The Other Palace. This latest imagining (co-directed by Markus Olzinger and Taylor Walker, and with book, music and lyrics by Charli Eglinton) promises a new spin on the old tale, focusing on the women in Mozart’s life. The potential of that intriguing premise is unfortunately never realised in this disappointing production that struggles to overcome clichés and poor storytelling choices.
Saving Mozart gives us the full life story of the composer, first introducing him as a tween-aged wunderkind learning his craft alongside his equally (if not more) prodigious sister, Nannerl. Both are terrorised by their overbearing father Leopold, a tiger dad determined to achieve greatness through his children, no matter the toll. Leopold’s criticisms cast a shadow over Mozart’s adult life, tormenting him as he flounders at the edges of European high society and tries desperately to live up to the legacy that’s expected of him.
As you might expect from a musical about a musician, there is plenty of music in Saving Mozart – like in Les Mis or Hamilton, Eglinton has almost all of the drama take place through song. Her ear for music is good, and there are some rousing melodies in songs such as ‘Stand Up Stand Down’ and ‘Watch Me’. But unfortunately the cast aren’t quite up to the task. It’s a score crying out for a bring-the-house-down-style belter, but no one delivers the wow factor; perhaps the best performance comes from Jordan Luke Gage as Salieri, but he doesn’t have enough material to shine.
The musical numbers are also let down by pedestrian lyrics that lack poetic inspiration and stray too easily into clichés. With repeated references to “breaking the chains”, “not playing by the rule book” and “hearing my voice”, both the songs and the story feel all too familiar. Though Saving Mozart claims to tell the untold tale of the women in the composer’s life, what actually unfolds is a by-the-numbers music biopic, right down to the daddy issues, the feisty love interest and the tortured genius schtick.
Indeed, some narrative choices are not just uninspired but don’t even really make sense; the character arcs are unsatisfying. The fearsome Leopold, for example, sings warmly to his young son midway through the first act, urging him not to heed the criticism of others – a sentiment completely at odds with his character portrayal before and after that moment. After being Mozart’s bosom friend in childhood, we learn little of Nannerl’s later life, leaving us wondering what she eventually made of her incredible musical talent.
Added to the narrative woes are some odd choreography and costuming choices (the semi-modern period dress comes across as more amateur than punk). Perhaps fans of historical drama or Mozart himself will take interest in the biographical detail on offer here. For the rest of us, unfortunately, there’s just not enough to enjoy in Saving Mozart.
Listings and ticket information can be found here
