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 Mike Ricci's Production
of Amadeus

Cast

The "Venticelli", Purveyors of Rumor & Gossip		Marc Rouleau, Joe Galatz
Antonio Salieri, Court Composer		Pat Zollar
Father Vogler, a Catholic Priest		Gary Eustice
Young Salieri, 12 years old		Michael Kelly
A Servant		Nathan Torrey
Constanze Weber, Wife of Mozart		Shannon Seeba
Wolfgang Amadeus Mozart		Mike McKay
Lorl, Servant to Salieri		Staci Herendeen
Joseph II, Emperor of Austria		Steve Lah
Count Orsini-Rosenburg, Director of the Royal Opera		Timothy P. O'Reilly
Baron van Swieten, Prefect, Imperial Library		Jerry Wozniak
Count Johann von Strack, Royal Chamberlain		Todd Peterson
Guiseppe Bonno, Director of the Royal Orchestra		Jim Zollar
Katherina Cavalieri, Salieri's Pupil		Amy Koivisto
Teresa Salieri, Wife of Salieri		Heidi Werdier
Leopold Mozart, Father of Mozart		Jack Zollar
Citizens, Servants and Valets		Amanda Avery, Earth Seifert, Ashley Werdier, Nathan Torrey, Marcus Tworoski-Wise, Stacie Herendeen,
Karl Mozart, Son of Mozart - four years old		Logan Radovich

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Crew

Stage Manager		Melissa Tessman
Technical Director		Michael Ricci
Asst. Tech. Director/Master Carpenter		Dan Dolinar
Lighting Design		Scott Mellesmoen
Sound/Music Design	.. ..	Michael Ricci
Costumes		Guthrie Theater, Michael Ricci, Carla Magnuson, Jen Nelson
Props		Gretchen Mayer, Michael Ricci, Melissa Tessman, Dorothy Simkins
Language Coach		Tony Veneziano
Piano Coach		Mary Angela Strasser
Set Construction		Dan Dolinar, Mike Ball, Jon Stone, Chuck Johnson, Michael Ricci, Cindy Eisbrenner, Tammy Geisdorf, Jon Haurunen, Diana Matusewic, Carla Magnuson, Pat Zollar, Steve Lah, Bobby Ballard
Set Decoration		Ellie Ricci (Head), Rosy Frost LaKosky, Father Steven Daigle, Brian Rouleau, Dan Dolinar, Chuck Johnson
Hair and Makeup		Natasha Colbert
Backstage Crew		Jon Stone, Neil Brooks
Sound Engineer/Operator		Tom Tario
Sound Effect Technician		Ian Hagen
Party Table Creation		Ed Skidmore
Light Board Operator		Cindy Eisbrenner
Box Office		Barb Suech
Billboard Artwork		Ellie Ricci

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Director Notes

 As with all good theatre, each play should take us on a journey - not only to new places and people, but also ideas and possibilities. So it is with 'Amadeus'. Playwright Peter Shaffer sets his story in 18th century Vienna, in the court of Austrian Emperor Joseph II. It is here that he brings to life a brilliant, fictional account of the life of Court Composer Antonio Salieri, and his conflict with God through the person of Mozart. Salieri believes that God has promised him the gift of music and immortality; however, when Mozart arrives on the scene, Salieri sees that he has been cheated of his gift - it has been given to Mozart instead. Thus arises his jealousy and the obsession to silence this "new" voice of God. This obsession is the core of the play, and it moves us through the inner workings of a man who cannot accept the fact that he is, at best, a mediocre composer. He feels cheated, and wants, needs revenge. Mozart's genius should be his, and if he cannot have it, then no one can.

I had been fortunate to have seen the original Broadway production, and I knew that someday I would want to direct this play. I was overcome with the dramatic possibilities within the telling of this story, as well as the challenges inherent in bringing this story to life on stage. Most people know of this story through the film version, which won eight Academy Awards in 1984. Peter Shaffer wrote that screenplay, as well as five other versions of his stage play, in the past twenty years. He seems to have never been satisfied with how certain events work out in the play. It is this quest for a satisfying resolution that led him (and me) to consider another version. I decided to merge his screenplay and the sixth (and last) version of the stage play, coming up with a unique script that retains the familiarity of the film, while introducing elements found only in the stage play.

One important dynamic became vividly apparent to me as I began to work on this play - the relationship between man and God. The connection between Salieri and God is as strong as a bond can be, and moves through many changes during the play. It is possible that this entire story would never have happened were it not for his strong belief in God. It is this belief that moves us to perhaps consider our own spiritual relationships.

However, ultimately, we are also moved by the music, and genius of Mozart, and of his untimely demise. Whenever a bright star such as his shines, for that moment of time, however briefly, we are transformed. He wrote an astonishing amount of music in his short lifetime, more than twenty operas, seventeen masses, twenty-one piano concertos, forty-one symphonies and dozens of other works for strings and chamber orchestras. His music does live forever, and we are eternally grateful for this gift which has been left to all of us.

As always, a production of this magnitude does not happen without the help of many dedicated people. Once again, I am indebted to my wife Ellie, for another stunning set design and scenic artwork, to Scott Mellesmoen for an inspired lighting design, to Tom Tario, for his patience and skill in engineering the sound, to Melissa Tessman for her abilities to keep it all together, and to Dan Dolinar, whose hard work and dedication in all areas of this production helped make it something special. And of course to two very special actors - Pat Zollar, who I have had the pleasure of working with once again; and to Mike McKay, whom I have never worked wsith until now. They have both showed true commitment and professionalism in creating daring and courageous characters. This is our gift to you. Enjoy.

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Play Photos

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