Have you ever looked at the cubicle next to you – at your younger, more talented (and more attractive?) colleague – and been consumed with envy? Have you ever spent time slaving over a piece of work you feel passionate about, only to have it overshadowed by that of an upstart?

If so, you know exactly how Italian composer Antonio Salieri felt in the late 18th century when Wolfgang Amadeus Mozart crashed onto the scene (read: the Viennese court). Peter Shaffer’s made this rivalry the starting point in his monumental biographical tale of Mozart, Amadeus. And, this intense universal story of talent and tragedy - interspersed with comedic moments – has hit the stage in Malta at Teatru Manoel. 

The production, which is directed by British thespian Stephen Oliver and brought to the stage by Masquerade Malta, will also see the return of Manuel Cauchi to the boards. The veteran actor will be playing Salieri to Thomas Camilleri’s Mozart, in a showstopping theatrical experience celebrating Masquerade Malta’s 20th anniversary. Here, we talk to the director and Thomas Camilleri about what lies ahead.

Stephen Oliver, Director

1. What attracted you to directing this play? 

I remember seeing the original National Theatre production with Paul Schofield and Simon Callow back in the '80s and was struck not only by the staging of the play but the way Peter Shaffer, the playwright, had utilised his skills as a storyteller to turn the story of Mozart into an incredible play, without it being a pure biopic. There has been conjecture for so long as to what was the cause of Mozart’s early death, and these included Masonic involvement and poisoning by a rival, namely Salieri, a court composer of Mozart’s time. Shaffer explores this storyline and the play is seen through Salieri’s eyes, featuring both his and Mozart’s demise. Amadeus is a beautifully structured play throughout, and of course lends itself to the beautiful Manoel Theatre.

2. How have rehearsals gone?

I have an incredibly talented cast, with a mixture of seasoned professionals and some relative newcomers to the stage. It always helps when a cast 'buys' into a production from the start, and I was overwhelmed by the number of actors who auditioned for Amadeus. The cast truly love the play, and this helps in rehearsal. The great Manuel Cauchi who plays Salieri arrived at the first rehearsal with the script completely learned by heart, and he is onstage for all but three hours! 

3. Amadeus was performed (quite) a few years ago in Malta – what makes this production different?  

As seen by the sell-out performances of the recent National Theatre revival of the play, Amadeus continues to captivate audiences. I am aware just how successful the Masquerade production of 16 years ago was, and I think the time was right for a revival here in Malta. Having lived here for five years I did not see the earlier production, so I hope I bring a new pair of eyes to the play. I believe that all good directors make their mark on a play.

4. What are you most looking forward to once the run begins? 

Anyone who loves music cannot fail to love Amadeus. The play is loaded with such famous pieces of both his and Salieri’s. The set, designed by Romualdo Moretti, is awe inspiring and this, together with the stunning costumes, wigs and furniture, will transport the audience back into the 18th century.

Thomas Camilleri, Actor (Amadeus)

1. How did you prepare for the role of Mozart and in what way is this a great role to play?

Growing up with my father was possibly the best preparation I could have ever had. Classical music, Mozart in particular, was always on in the car or at home on weekend mornings. I know all the tunes, I just don't know most of their names! As a child, my party trick used to be singing the Queen of the Night's coloratura from The Magic Flute. My parents used to get me to do it in front of their friends all the time!

Wolfgang Amadeus Mozart is a rare gem of a part. He goes through such an incredible arc as a person. From the absolute highs of being the darling of the Emperor's court, and celebrated throughout Europe, to his penniless lows being unable to support his family whilst dying of various illnesses. Learning many lines is always a challenge for me, though less so when beautifully written. In fact, learning these lines wasn't very hard because Mozart truly lives on the page - his virtuosity, his vulgarity, his vulnerability are all so tangible.

2. How have rehearsals gone?

Rehearsals are such fun! Follow us on Instagram, we're always uploading stories from rehearsals. Most of my stage time is either with Manuel Cauchi as Salieri or Monique Dimech Genuis as my wife, Constanze, and both are such a treat to work with. Manuel's so comfortable onstage after his decades of experience that I often forget that I need to come in with my own lines after his, focused as I am on what he's saying. Monique and I, on the other hand, have some terrific scenes together, from our naughty pre-marriage days when all we wanted to do was get in each other’s pants to the heart-wrenching moments when we're destitute and pregnant. We've got such great chemistry and I'm grateful to be working with her.

3. Amadeus was performed (quite) a few years ago in Malta – what makes this production different?

Chris Dingli played Mozart in that production and we were joking the other day about how he had to play older than his 20 years for Mozart's 26 and I have to play younger than my 32. One of the great differences lies in the direction. Tony Bezzina's taken on the role of producer this time round and entrusted the show in the capable hands of Stephen Oliver. I've had the pleasure of Tony's direction many times so I'm glad to be under Stephen's direction this time round.

4. What are you most looking forward to once the run begins?

I can't wait to be on that stage inhabiting the craziness of Mozart and getting lost conducting that incredible music! The scene where Salieri first describes hearing Mozart's Serenade in B flat is the most beautiful marriage of words and music. Everyone's transfixed in the rehearsal room when we're at that point. Sitting in the Manoel Theatre and hearing the Dies Irae blasting at you must also be an incredible experience. My only regret is that I won't be able to see and hear it from the auditorium myself.

Performances continue on the 26, 27, 28 October 2018, from 7.30pm at Teatru Manoel, Valletta. Tickets can be bought from here.