Absolutely magnificent: Perfectly cast, exceptionally directed ‘Amadeus’ sings in stellar revival

“Amadeus” — 4 stars

Among the many joys of Steppenwolf Theatre’s magnificent revival of “Amadeus” — Peter Shaffer’s fictionalized depiction of 18th-century composers Antonio Salieri and Wolfgang Amadeus Mozart — are the playwright’s intimations of what might have inspired several Mozart arias.

There’s a pedestrian march by the adequate Salieri, which the exceptional Mozart reimagines as Figaro’s famous “Non più andrai” from “The Marriage of Figaro.” Zerlina’s “Batti, batti, o bel Masetto” from “Don Giovanni” springs from a tiff between Mozart and his wife, and the couple’s tender exchange near the end of Act II anticipates the Papageno-Papagena duet from “The Magic Flute.”

Today we would call those Easter eggs (a phrase that didn’t exist when the play premiered). Besides eliciting smiles from opera fans, Shaffer’s callbacks affirm a truth incontrovertible: that genius finds inspiration anywhere — in a trifling tune, a spousal spat or a playful encounter.

Written in 1979, revised several times and adapted for the big screen in 1984, the artfully written “Amadeus” examines ambition, jealousy and legacy as well as artists’ efforts to push boundaries while institutionalists cling to traditions, in part as a way of preserving power.

At its core, however, Shaffer’s play is about genius: how it imbues some individuals, as evidenced by Mozart’s effortless brilliance, and eludes others, as reflected in Salieri’s dogged mediocrity. And the terrible burden that comes from recognizing in another the greatness you will never achieve.

The action commences in 1823 Vienna with Salieri (the superb Ian Barford for whom this role is an ideal showcase) confessing on his deathbed to Mozart’s assassination. (Pure dramatic license that; historians describe Salieri as a popular composer and say he and Mozart were respectful rivals). The scene then flashes back to 1781, where Salieri, composer to Austrian emperor Joseph II (a deft comic turn by Gregory Linington), recalls promising lifelong service to God in exchange for talent and fame.

The bargain holds until impudent wunderkind Mozart (David Darrow, noteworthy in his Steppenwolf debut) arrives at court dressed in a pink waistcoat and breeches, flowered brocade coat and sporting an unruly red wig accented with blue streaks. As prodigiously talented as he is profane, this classical-era enfant terrible rejects musical conventions and pushes boundaries. Eschewing mythic heroes as opera subjects in favor of ordinary folks leads to clashes with court officials (played by Yasen Peyankov, John Lister, Joey Slotnick and Robert Breuler), who are reluctant to challenge traditions.

Only Salieri recognizes Mozart’s genius, forcing him to recognize his own modest abilities, which he correctly concludes will relegate him to obscurity. Awed and anguished, Barford’s Salieri comes to that realization during a strikingly theatrical moment late in the first act. In a rebuke to the God he believes betrayed him, Salieri sabotages Mozart’s career, leaving him penniless and near death.

It is a towering performance expertly matched by Darrow, whose complex, captivating performance suggests manic brilliance and lingering insecurity born of a son who never felt his judgmental father’s approval.

Jaye Ladymore plays loyal Constanze, Mozart’s spirited wife, who matures from a silly girl to her husband’s protector. Erica Stephan is the young soprano Katherina, seduced by both Mozart and Salieri. Lastly, the delicious duo of Ora Jones and Sawyer Smith play Venticello 1 and 2, the sly spies and scandalmongers who apprise their patron Salieri (as well as the audience) of Mozart’s increasingly dire straits.

The revival marks the Steppenwolf directing debut of Robert Falls, who served 36 years as Goodman Theatre’s artistic director. Staged in the round on Todd Rosenthal’s minimalist set (whose glittering chandeliers and broken windowpanes are a visual representation of Salieri’s diminution), Falls’ production has a feeling of constant motion. Like Mozart’s music, Falls’ well-tempered direction has grace and clarity along with a fair amount of wit.

Steppenwolf’s production benefits from lighting designer Eric Southern, whose illuminating pinpoint spotlights seem to beatify men and music alike; Amanda Gladu’s vibrant period costumes; and Connor Wang’s exceptional sound design.

Wang commences the show with a snippet from Mozart’s serenade “Eine kleine nachtmusik.” The tune begins nimbly and within moments devolves into sluggish dissonance, an unsettling foreshadowing of genius diminished.

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Location: Steppenwolf Theatre, 1650 N. Halsted St., Chicago, (312) 335-1650, steppenwolf.org

Showtimes: 7:30 p.m. Tuesday through Friday; 3 and 7:30 p.m. Saturday; 3 p.m. Sunday through Jan. 25. Also, 7:30 p.m. Dec. 21 and 2 p.m. Nov. 26 and Dec. 10. No 7:30 p.m. performance Nov. 25-27; Dec. 23-27; Dec. 30-31 and Jan. 1. No 3 p.m. performance Dec. 27-28.

Running time: About two hours, 40 minutes, with intermission

Tickets: $20-$153.50

Parking: Paid lots nearby

Rating: For teens and older; some sexual references