MH: What are some specific techniques you use in directing this piece? RH: To direct a play like this, you have to begin by having a very thorough understanding of the court of Joseph the II in 18th century Vienna and the 18th century Roman Empire as a whole. You need to have a clear understanding of who Mozart was and who all the people were that he interacted with because all of the people in the play existed. The playwright takes liberty with historic truth and bends the truth to his dramatic ends. You have to be familiar with what the truth is so that you know where the playwright is deviating from the truth and then you must ask yourself the question, “ Why is he deviating from the truth? What is he trying to accomplish and what is he saying to us?” That’s where the themes of the play emerge when you see the difference between the historical records and how these characters appear in the play. So that context, which we call dramaturgical research, is really the thing that I couldn’t approach this play without. I need those dramaturgical tools at the beginning of the process.
MH: Do you find Amadeus to be a period piece or a piece that has evolved over time? Can younger generations form a connection and relevance with it today? RH: It’s not a period piece even though the play is set in the 18th and 19th century and we see period appropriate costumes on the actors. It’s a very contemporary play, has contemporary themes and issues. So we are treating it as if it is a new play. I believe our youth can really connect with the character of Mozart and his wife Constanze. Mozart marches to the beat of his own drum, he defies convention and authority. He is creating something new, I think that’s very relevant. His wife, Constanze, is trying to survive. She is trying to make her own way in the world with a husband who is in his own world. She is trying to be a young woman in a very male dominated world. She is trying to break through those barriers and find her own place in a world that doesn’t give her any breaks. I think her struggle is very contemporary and relevant.
MH: What do you hope audiences will take away with Syracuse Stage’s Amadeus? RH: I think that they will take away that the play operates on a couple of different levels. I think it’s a great commentary on that we all want to be remembered after we leave this world. We all want to leave something behind. For some of us that’s a strong family, for some, it is a contribution to the betterment of others. Some want to leave a mark on our society and this play is about a man who wants to build a legacy but he realizes that legacy is discovering the legacy of someone else. I think it is a very interesting exploration of what legacy we all choose to leave, what memory we all choose to leave of ourselves on this planet. I think the play has something really interesting to say about how we wrestle with our own mortality and how we will be remembered by others.
SYRACUSE STAGE EDUCATION
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