“I don’t believe it” are the gossiping words declared ironically and repeatedly by the court ‘whims’ Venticello and Venticella as bookends to the opening and closing of Peter Shaffer’s 1979 play, AMADEUS. Hapsburg Court musician and composer for Emperor Joseph ll, Antonio Salieri has declared on his death bed that he murdered Wolfgang Amadeus Mozart via poisoning and the Viennese court of the early 19th century is buzzing with the news.

Whether it’s true or not (and there’s significant debate that suggests it’s a greatly exaggerated antipathy), it’s a ripping tale and far more interesting than a bit of petty jealousy. In Shaffer’s hands, Salieri becomes a full blown tortured protagonist, possessed by the demon of jealousy, causing him to renounce his faith, break his marriage vows and rail against a God who gave a divine gift to an essentially childish, giggling and foolish man – Mozart. Salieri’s duplicity in appearing to befriend Mozart, while blocking and destroying any opportunities for Mozart’s advancement or even financial stability is the basis of this tale of spiraling envy and despair.

The beautiful little Genesian Theatre in Kent Street has the perfect natural setting for this play. Originally constructed as a church in 1868, the three original biblical stained glass windows at the rear of the stage serve as a perfect backdrop for the world of 18th century music and European court politics.

The other elements to the set, created by Ashley Bell, comprising a few drop curtains, some chairs, a pianoforte and assorted props, support the action and atmosphere and work perfectly with minimal fuss. The costumes by Peter Hensen are in complete harmony with this set. Together they create a world that attempts to be lavish but is a little tatty and tacky in places, a slight suggestion of rancor and decay, something a bit rotten. Venticello has a few too many beauty patches, their stockings become dirty, make-up is not uniform, chairs that are not completely matching. It’s perfect, particularly with the clam shaped footlight shades that reside at the front of the stage.

I have seen productions of this play by other companies and have come away with insight into Mozart’s relationship with and marriage to Constanze Weber. Their childish playful sexuality and game playing underpins a deep understanding and lasting bond and Jasper Garner-Gore as Mozart and Nicole Wineberg  as Constanze reinforce all of that. Slightly built and mercurial Garner-Gore whips from obscene child to instinctive genius in a heartbeat and Wineberg skips from a gormless and plebeian “Ta, very much” to an insightful and dignified woman with a strong moral compass and backbone.

The difference in the Genesian Theatre production is the casting of Nick Hunter as Salieri. He brings a Faustian anguish to the role as he battles not so much Mozart, but his own relationship with God. Salieri has the potential to be a grasping sycophantic and scheming character, but Hunter has explored deeper and presents a Salieri who is constantly tortured by his own sense of being mediocre in comparison to Mozart, unable to take joy in his own achievements and escalating success.

His pain is palpable as we are witness to his angst at being the most hardworking composer who feels betrayed by his God, to whom he has paid all homage and pledged his soul in service to music, in the most serious manner. In one particularly powerful soliloquy, his emotionally rich voice rips open his despair for us to share, revealing that he is gifted enough to recognise the true beauty and genius of Mozart’s work and yet be appalled that he “…heard the voice of God…from an obscene child”. His revenge is aimed at the God that gave the gift to, in his eyes, the unworthy and undeserving Mozart.

Hunter makes it all real and very human, and not entirely the work of a villain. There is a sense of being repelled his own behaviour, yet still unable to stop his duplicity.

Director Stephen Lloyd Coombs and Assistant Director Mark Nagle have assembled an ensemble that is expertly cast and uniformly adroit and well-schooled in stage craft, prowling in packs and bringing perfectly timed energy and subtly defined characters and meaning to the work.

Lighting Designer Mikey Rice has also worked harmoniously with the church and the production, creating some beautifully ethereal and visually rich moments; such as when a backlit Salieri becomes haloed in torment, his silhouetted stooped body exposed through the sheer fabric of his old man shirt.

The only question mark was in relation to the music. For a play about the all-encompassing passion for music, it was a surprise to have mimed singing by Elia Bosshard as Katherina Cavalieri, the student of Salieri whom Mozart seduced. The recordings of music by Salieri, Mozart and other composers of the period are mere background influences to the atmosphere and we never really have an opportunity to become emotionally involved in the beauty of the sounds behind all the fuss. This may have been time restraints – the play runs for 165 minutes, with interval.

Overall, Genesian Theatre’s AMADEUS is brimming with integrity and strong production qualities. While historically accurate and charming in costume and effects, the focus is on the characters and the story and is all the stronger for it. My husband loved it and that is enough for me.

This current revival of Peter Shaffer’s AMADEUS will play at the Genesian Theatre, 420 Kent Street, Sydney every Friday and Saturday night at 8pm and Sunday matinees at 4.30pm until November 29.