National Theatre London / By Peter Shaffer / October 2016
Director: Michael Longhurst
Choreographer: Imogen Knight
Lighting: Jon Clark
Sound: Paul Arditti
Music: Simon Slater
The production assembles and reassembles itself – a virtuosic whirl of bits of scenery (design by Chloe Lamford), fantastic singers, excerpts from the operas that, in their aesthetic, become wittily and pointedly ahead of their time.
★★★★ THE INDEPENDENT / 27-10-16
Chloe Lamford’s gorgeous design abandons the stateliness of John Bury’s approach to Peter Hall’s original staging of “Amadeus” for something more rough and tumble.
Above the onstage bustle is suspended a cherub seemingly encased in tassels, as if the celestial realm of beauty had been placed under siege and existed to be set free. Beneath that arresting image, Salieri and Mozart play out their wounding dance of death
NEW YORK TIMES / 17-11-16
The ingenious set, designed by Chloe Lamford, is so versatile that the centre occasionally drops out of it to create an orchestra pit.
★★★★THE TIMES / 27-10-16
Lavishly designed by Chloe Lamford, this is a show that both delights and moves you with constant reminders that there is a difference between genius and also-rans, however talented. On the huge Olivier stage, this Amadeus pulses and shimmers and trills and occasionally roars with the pleasure of great music. At some moments it is almost overwhelming; at other it is quietly moving.
★★★★★ THE ARTS DESK / 28-10-16
the amusingly anachronistic flourishes of Chloe Lamford’s design (Mozart wears DMs, Salieri scoffs a box of Dunkin Donuts)
★★★★★ TIME OUT / 28-10-16
Chloe Lamford’s costumes – mile-wide panniers and spangly trainers – pop with colour and there’s a gleefully anachronistic quality to some of the dance scenes, the music throbbing as the masked cast cavort in slow motion. But for all its playful, punkish energy, the production is capable of tenderness and profundity too.
★★★★★ THE STAGE / 27-10-16
the ensemble of musicians forms an integral part of the action, stalking Chloe Lamford’s stripped- back, abstract stage-area
★★★★★ THE TELEGRAPH / 27-10-16
Chloe Lamford’s *art-fully* shrunken set plays its part in celebrating the artifice of performance. Shadows cast by visible parcans fall rudely upon a thin curtain, as props are whisked onto stage by hurried stage managers. Falling cherubs make an occasional appearance, diving down over classical footlight shells, as two-dimensional homages to ancient architecture furnish rapidly transforming theatrical spaces. We travel from The Marriage of Figaro to Don Giovanni, following vanishing points and staircases that whisk us off to dusty corners of our imaginations.