Amadeus - NT

Didn't see in-I. Prior to Damned by Despair Fram was the worse thing I'd seen in the Olivier. I think those of us who rate DbD as terrible saw it during previews - it had changed considerably by press night. Also, it was terrible, but I wouldn't have missed it for the world! Unlike Fram, which was just a snooze-fest.

I know we're going slightly off-topic about Damned by Despair, but our Voice & Text teacher at drama school recommended that we all go see Damned by Despair at the National, so off a large group of us went, got the £12 travelex tickets on the day, and I was a little excited, knowing Bertie Carvel was going to be in it. I wouldn't necessarily say it was 'bad' (I've seen worse, recently The Entertainer at The Garrick, imho!), but gosh it was sooooo booooooooring. Can't remember much, if anything, about it.

Well we come back next term, and our teacher asks "So, how was Damned by Despair?". We all quietly and tentatively say that we didn't think it was very good, worried that a wonderful play at The National had gone right over our heads, and teacher says "I know. But isn't the voice work good!".

I loved the production of Frankenstein - the lighting was stunning, and I still listen to the music - but it's some of the worst writing I've ever paid to see, and some of the performances were flat-out terrible.

I had a ticket from a friend who's a patron for a preview of Amadeus and loved it, but didn't imagine the wrath of my jealous mother in going without her. I've been trying to get the Friday rush tickets each week to make it up to her but no luck... does anyone know what the day seat situation is at the national other than the info on their site (9:30, £15 etc etc.) I've never tried to wait/queue for any there. Any experience or info would be welcomed! I've got to get my favourite daughter status back...

I still talk about Damned by Despair's fiery robot with fondness but it ranged between dull and outrageously camp. It is the sort of thing that if the Arcola or some other smaller theatre had done it there would be no discussion but this was the National Theatre! It was hot mess (literally from my G row stalls seat when the fire appeared, no wonder the drum is busted) and what stands out is how badly it did by the end of the run. They couldn't even give away comps.

I went to see Peter Pan Goes Wrong and there's a scene where the revolve won't stop moving. "I bet the Nash wishes the Drum still did that" I thought to myself.

I have a single front row circle ticket for Amadeus on Monday evening 7 November that I can no longer use. What is my best option for getting my money back? Will NT give me a refund to my credit card if they are able to resell it, or am I able to sell it directly to someone in the day seat/returns queue? I have the hard copy ticket but am not arriving in London until Monday morning from Australia.

Thanks for the advice.

Phone box office and ask them to sell it. Don't sell to queue at theatre, poor etiquette! Or give/sell it to a friend when you arrive. ( maybe someone on the plane could use it - auction it for charity)  

I think I liked the first part better. I mean, the second is also very good, but if the first act is a 5*, the second act is "just" a 4* for me. It was probably too long for its own good and maybe the final confrontation between Salieri and Amadeus is not as strong as the image of Salieri helping Mozart to write down the Requiem, like in the movie. I loved how visual the production is, it reminded me of Greenaway's Prospero's Books, Coppola's Marie Antoinette and Raphael's The School of Athens. I loved the tableaux in the scenes where Mozart explains how revolutionary Le Nozze di Figaro is or the image of Salieri in all his glory with people crawling at his feet. I mean, I also felt it was a bit too much, but I loved it all the same.

I loved how they used the singers and the orchestra, they created all those haunting images: the moment when they walk slowly singing and playing Lacrimosa or the nightmarish pastiche of Die Zauberflöte. There was no orchestra in the original production, wasn't it? I'm sure I remember that the stage direction specifies that Katherina sings in play-back, so it's good she sings live here. I mean, they did the best they could to enlarge female roles. In the original version there are only the two silent roles of Katherina and Teresa (Salieri's wife) and then there is Constance who does all the talking. It's good that both Teresa and Katherina sing and it's great that one of the Venticelli is now a woman. They gender-bent (is that even a verb?) Count Johann Kilian von Strack, now played by Alexandra Mathie, which was a bit random since it was the only genderbent role in the show. Still good, tho.

I'd like to mention Tom Edden as Joseph II, he was terrific imo, a true character actor. I remember loathing him in Les Miz, but I really loved him here. I adored Lucian Msamati as Salieri, he should win the Olivier. I'm perplexed about Adam Gillen because I didn't like what he did as Mozart, but there was greatness in it. I don't know if it makes sense, but for me he was doing a "wrong" thing but he was doing it incredibly well.

I feel like the second part was a bit of a let down after the perfect first act, but it's such a fantastic play and production, see it if you can!

Agree! Tom Edden was great. There's a great interview on WOS with him where he talks about being desperate to be in this production.

Don't really agree about Lucian Msamati though. He was the weakest link for me. I don't know what it was but there were some good parts individually but it just didn't add up to a particularly strong performance.

I adored the play and loved the music and the staging but for me, the whole thing did sag just a touch whenever Adam Gillen was off stage. And when he was on it, I just thought he was utterly sensational. I know Salieri is usually the award-winner role but in this particular production I think it would be a real shame if Msamati would get the Olivier over Gillen.

I don't think we got him arse-up in bondage during previews. There was a weird scene where he was manacled and, if I remember rightly, the chains kept moving up and down slowly as if he was doing some kind of rhythmic gymnastics routine. And then it took about 5 minutes to clip him into the harness for the hanging scene.

It has to be said, over the past few years I've seen lots of perfectly enjoyable but ultimately forgettable productions at the NT. At least Damned by Despair was memorable!

Booked some seats for mid February today (as well as Twelfth Night and Hedda Gabler in the spring), can't wait to go again!

Dramatic scenes at the Olivier last night.
A loud crash and a shriek 20 mins into the second half. Play Carried on for 5 mins then was stopped as an actor had fallen and was then trapped or at least injured back of stage.

Was at least a 35 min pause (then I along with scores of others had to leave as was going to finish post 11.30) before it presumably restarted.

Thought it was great till then and am hoping that they can replace tix.

The thrill of live theatre!