Saving Mozart - The Other Palace - Review

If I had a nickel for every time I saw a musical about a troubled artist who died too young, died before they really had the chance to see their own fame, which featured a heavy focus on the close and touching relationship of said artists with a sibling and the women who greatly influenced the lives of said artists, I would have two nickels, which isn’t a lot but it’s weird that it happened twice.

I joke in attempt to fit in with some social media trend.

I don’t like to draw comparisons, and would like to state that I won’t be doing so here, but please just let me say that ‘Saving Mozart’ whilst in no way filling the hole in my heart created by falling in love and subsequently having to leave ‘Vagabond Skies: The Van Gogh Musical’ in Edinburgh, did provide similar vibes by opening my eyes to the life of an artist I previously knew very little about and filling their story with the light and heartbreak, love and loss, along with some beautiful musical moments.

Whilst ‘Vagabond Skies’ focused on the last ten years of Vincent van Gogh’s life, plagued by mental health struggles and downtrodden by years of rejection, and his relationship with his younger brother, successful art dealer Theo, ‘Saving Mozart’ takes us right back to the early years of Wolfgang Mozart, focusing on his relationships with his sister Nannerl, his parents and his romances and how they influenced his all too short life.

Nannerl Mozart (played by Aimee Atkinson) was the first prodigy, the musical genius composing symphonies as a child whilst, at first, her little brother Wolfie (played at this performance by Izzie Monk) was talented but seen as the prop, the cute supporter who could perform a number of piano playing party tricks. But as time passed and Nannerl is instead forced into the box of being a wife, it is up to Wolfgang (Jack Chambers) to maintain the family name, to use his talents to take the family beyond Saltzburg, to fame and fortune. But with fame coming only with a place in the royal courts, and with others constantly telling him to go back to the humble surroundings of farm life, Wolfgang is met with countless walls, countless hoops to leap through, and longs for someone to simply believe in him.

Jack Chambers is captivating as Wolfgang Mozart, lingering hauntingly as he watches his childhood play out and then living his life himself, a figure walking the fine line between determination and downfall, courage and paralysing anxiety. He impresses vocally, with his performance heartfelt and powerful. The audience hang on his every word, willing him on to succeed. Atkinson’s Nannerl is full of love, light and passion. She is a character who truly comes alive when she is playing music, and as an audience, we see her light dim as Nannerl grows older, forced to watch her little brother in his attempts to live out her dream. A mighty portrayal of loss and love, torn between the love she has for her Wolfie and the pain she fills at not being to do what he can due to societal rules.

Douglas Hansell and Gloria Onitiri play Leopold and Anna Maria Mozart. The domineering father, the driving force who pushes his children to be the successes he himself tried to be, Leopold is easy to dislike. Pushy, bossy and, at times, all together nasty to his children, but Hansell somehow gives the character a softness, a reason for being the way that he is. Anna Maria is the kind heart, the person who sees her children as they are, just children, and a guiding light in Wolfgang’s adult life.

Erin Caldwell, whilst not appearing until act 2, makes an impact as Constanze, the women who wins Mozart’s heart. Her powerhouse vocals fill the Other Palace main house with ease as Constanze becomes a pivotal player in the life of Mozart supporting him as he struggles to finally find fame. Jordan Luke Gage plays court composer Salieri, painted here as the villain, the man who held all the power and was able to push Mozart away at the drop of a hat. With eye liner and an ensemble of dancers backing him up, he is the rockstar of the piece, proving incredibly popular with the audience throughout.

I have to praise young performer Izzie Monk, who took on the role of young Mozart, here. As a child, Wolfgang was pushed and pushed, forced to act and perform beyond their years and constantly put down, a lot for a young performer to convey but Monk does this easily. Alongside Atkinson, they are a sweet and incredibly charming double act, never losing the sense of childhood magic despite what Wolfie and Nannerl are put through.

The music, inspired by Mozart’s creations, is a lovely balance of fast and slow, solo ballads and ensemble numbers. Whilst perhaps not earworms, the songs fit the story perfectly, inducing many smiles and great applause.

Seeing what is able to be done when the story of a great artist is given a platform to truly expand and be told in shining entirety, ‘Saving Mozart’ did indeed make me yearn to see a full production of the earlier mentioned ‘Vagabond Skies’ where the story is given that chance to tell every moment, to reach out and truly capture an audience’s heart. Both stories about great artists, both truly deserving the opportunity to be heard.

Running at 2 hours and 15 minutes, this two-act musical gives the story time to breath, the characters are well developed, and we see the ups and downs from childhood to Mozart’s untimely passing. The story is heartfelt, touching and eye opening, taking the audience beyond our basic understanding of Mozart. We hope wholeheartedly that this is not the last we see of ‘Saving Mozart’, a musical that packs a punch and introduces the audience to a wonderful story of family, love, loss, prodigy level talents, determination and passion.