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Decision Story Driverįrom the outset, as the play is a memory, we see that Salieri made a decision to oppose Mozart. And he is sure that it will result in resolving the problem.

Once he has perceived Mozart as the problem, he methodically begins his years long campaign of destruction. Salieri solves his problems using cause and effect techniques. This harkens back to his statements that he always wanted to sleep with his pretty students, but because of his bargain with God, he had to be chaste. When he has the opportunity to sleep with Constanze, he refuses, preferring to adapt to his new sense of his world. Even with Mozart, in his war with God, he prefers to manipulate those around him rather than challenge Mozart directly. He is willing to flatter to be self-deprecating. He waits years to get the job of First Kappelmeister. Salieri prefers to deal with his world indirectly, internally. He must stop his own adherence to his part of the bargain he made with God. He must stop God in His choice of Mozart as His Voice. Salieri must Stop Mozart, his music, his fame. It was through him! Through him to God, who loved him so.” As Salieri listens to the “Magic Flute,” he finds that a bit of pity might be entering his heart, but he resolves, “Never!” In the end, Salieri even attempts to take his own life to spite God’s punishment- that is, Salieri’s lack of recognition. He tells us, “I wanted nothing petty….My quarrel wasn’t with Mozart. After he declares his war, he isn’t interested. He had offered to trade a recommendation to the Emperor on Mozart’s behalf if Constanze will have sex with him. Once he declares his war, his intent to destroy Mozart, he remains steadfast to the end. Yet somehow, the outfit works, hinting that there is a method to the madness.8 of the 12 essential questions Steadfast Main Character Resolve

The man immediately stands out just through his costume: a colorful, patchwork nightmare of a suit that brings to mind the Sixth Doctor from “Doctor Who.” His clothes are cursed with vertical stripes, horizontal stripes, reds, blues, pinks purples and oranges, and that’s not even bringing up his cotton candy wig. The play’s titular character himself is played by Pasadena actor Rafael Goldstein, who plays up Mozart as bursting with both frustration and genius. But Salieri also conjures occasional laughs with lines akin to “You can see why I wanted to kill him” as Mozart struts his stuff. When Salieri discovers Mozart’s manuscripts, first copies of sheet music without corrections, his face contorts in spiritual pain he writhes about as the music written upon the papers play, and he crumples in an agonized heap. Salieri is perhaps the lone character who speaks in an accent at all everyone else sounds thoroughly American, suggesting the overall linguistic hegemony of the empire that Salieri serves.Īmendola delivers an impassioned, humor-tinged performance that implores the audience to understand Salieri’s frustration with God. The audience is held captive to Amendola’s performance, benefited by the actor’s mastery of the Italian language. The house lights come on in the only part of the play as if to involve them all. As Salieri, Tony Amendola rolls into view at the play’s beginning, in a wheelchair, to invoke the audience.