Reviewed by Amelia
Ticket was gifted in return for an honest review
Born in 1756, Wolfgang Amadeus Mozart’s legacy has lived on for centuries after his untimely passing, and had an unprecedented impact on the music and compositions we still hear today. As a composer in the Classical period, Mozart lived a life not short of turmoil, passion and urgency, and somehow left a mark on the world in ways which he never even saw himself. This production, Saving Mozart, written and composed by Charli Eglington, is the story of his extraordinary journey and the people that interwove along the way, including the two women who saved his legacy. As a female writer and composer, Eglington saw to it that Mozart’s sister, Nannerl, and his wife, Constanze, play a pivotal part in the piece and that we leave with the knowledge that it was them who allowed his work to live on in the way it did.
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| Photo by Danny Kaan |
Beginning with Aimie Atkinson’s powerhouse vocals, we come to understand that Mozart’s sister was actually the original Mozart prodigy of the family, and it was her music and work that inspired Wolfgang. Atkinson is on the money with this performance, as per usual, and brings a rawness to the character that only gets you rooting for her more. The societal norms of the time limit Nannerl’s potential and confine her to their home of Salzburg, Austria, where she can only watch as Wolfgang tries to achieve what was once her own dream. Atkinson works effortlessly alongside both young Mozart (played at this performance by Izzie Monk), and adult Mozart, Jack Chambers, with some impressive harmonies and vocal standouts throughout the piece. She dares Mozart to dream in colour, and it is obvious with what follows, that she is his biggest inspiration.
The other side of this comes from his wife, Constanze, played by Erin Caldwell, who ensures that his music is heard. Caldwell, no stranger to The Other Palace, makes a triumphant return here and showcases some unstoppable talent. Constanze acts as a voice of reason for Mozart and shows a constant belief in him that ultimately drives him to succeed. Another drive comes from a rivalry with an Italian composer named Antonio Salieri, played by Jordan Luke Gage. Gage dons familiar eyeliner and backcombed hair to provide yet another stellar performance in the West End to add to his collection, with those known and loved belts to end all belts. Salieri expresses his admiration for Mozart at the end of the piece, finally giving him the recognition he deserves; as in real life they did actually become friends who supported each others works, and Salieri even taught Mozart’s son for a time!
More conflict comes from the tumultuous relationship Mozart has with his father, Leopold. A tough, pushing father who strives for the best, Douglas Hansell brings authenticity to this role, and his emotional moments are felt by the whole room. His breakdowns are only emphasised by his inability to showcase his real feelings at times, and this creates a lasting impact on both Mozart, and the audience. It’s obvious that Leopold, the sole teacher of Nannerl and Wolfgang for some time, has love for both his children, but his need for recognition where he couldn’t quite succeed himself, ultimately overrides this and causes strenuous relationships. He’s juxtaposed by the brilliant Gloria Onitiri as the children’s mother, Anna Maria Mozart, whose softness and care works so well within this piece. She multi-roles as Cecila, Constanze’s mother, and brings energy and power to both roles, alongside impeccable vocals in songs such as ‘He’s Only a Child’. This lineup of performers is truly exemplary, with an amazing ensemble to round it all off.
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| Jack Chambers and Aimie Atkinson. Photo by Danny Kaan. |
The highlight of my evening, however, came from Mozart himself, Jack Chambers. This role is no easy feat, with emotion after emotion to be on display for all to see, but Chambers delivers on this exceptionally. This career-defining performance combines comedy, vulnerability and faithfulness to the real life story of a musical legend, while elevating the already marvellous score to new heights. This may be one of the greatest performances of 2025 so far, and he is truly one to watch.
Eglington’s score is intricate and unique to the piece, with a fragment of Mozart’s music used in every song to ensure we do not deviate from the source material. There’s influences of rock, and pop, that combines the past and present into one hell of a soundtrack. Each song felt separate from another, but cohesive at the same time which is incredibly hard to achieve. My biggest concern throughout the performance was whether I’d be able to hear to score again if I did not get to return to the show, and all I can say is, hooray for the concept album!
As mentioned earlier, the hard-working ensemble leaves no corner of the stage unturned and the contemporary choreography from co-director Taylor Walker is new and exciting. Featuring balletic influences and Hamilton-esque ‘chair-ography’, the movement is concise and deliberate to each scene and song, performed by a massively talented group of people. The Other Palace is not the largest of spaces, but despite elaborate set, the stage never felt small or underutilised. The set design by Justin Williams is innovative and unique, creating a dark and inviting atmosphere emphasised by incredible lighting from Ben Jacobs. The costuming (Julia Pschedezki) is easily identifiable of the time period we are in, with a stunning modern flair to appeal to the whole audience. Colours are used sparingly throughout, advancing the plot and dreams of the characters when necessary. Everything about the production feels essential and there is little to fault.
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| Photo by Danny Kaan |
Showcasing a story about following your dreams is not uncommon for musical theatre, but the way in which this production goes about it, is revolutionary. We are told: ‘Don’t ever apologise for being brave’ and that’s a sentiment that everyone should live by. Saving Mozart plays at The Other Palace until the 30th of August, and this is one you’re not going to want to miss.
⭐️⭐️⭐️⭐️⭐️
Tickets are available from https://theotherpalace.co.uk/saving-mozart/
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