Saving Mozart | The Other Palace

You’ve probably heard the music, but do you know the true story of the geniuses behind it? Salzburg, mid to late seventeen hundreds. Young Mozart is a prodigy…and her brother is working hard under her tutelage to catch up. Both world class talents with a controlling father who is determined to see them rise to the top. Still one question remains: How do you keep going when the world turns its back on you?

The show made its world premiere at the Stadttheatre as part of the Gmunden Festival in April earlier this year. Written and composed by Charli Eglinton, the current run at The Other Palace marks the show’s official London debut. 

The design of this show (Justin Williams) is undeniably visually gorgeous with its earthy color palette. The set looks like a packed up music studio, with its mirrors and covered up pianos, and it's very dynamic with the amount of levels the actors are able to use. A giant letter M dominates the space and feels very out of place in its stark whiteness, yet this very much parallels the fact that the Mozarts were considered to be outsiders within the areas of society they aspired to enter into. It definitely gives us a sense of what to expect from the show even before the actors have entered. 

It is worth saying that whilst mirrors do aid the feeling of the space, the direction and positioning of them means they aren’t used to their advantage, meaning they feel more like embellishments rather than pieces that are essential to the story. This is honestly such a shame because if used to their advantage, they could add to the tension of the piece (more on this later). 

The costumes (Julia Pschedezki) feel a bit classic at this point in the sense that the idea of mixing modern and period specific costume elements together has been done many times before in shows like ‘Cake: The Marie Antoinette Playlist’ and ‘& Juliet’. It's the monochrome colour palette that makes these stand out as particularly unique, and we particularly like the fact that the costumes change to reflect whether or not characters chose to conform to the expectations of the wider society they live in. 

It is worth mentioning the absence of a band on stage. Of all musicals, this would have been the perfect opportunity to have the musicians in a visible place on stage because the show is about a composer and rooted in the world of classical music. However, it seems, just due to the size of the stage space and the set design, as if it came to a choice between giving the performers space to dance and giving the band a place in which they could be seen. The production team chose the former and we aren’t entirely sure if that decision has paid off.

The dancing (Taylor Walker) is a beautiful combination of elements of ballroom/social dancing from the period and more modern dance, however, there are times where we feel that the dancing doesn’t serve the story. So whilst it is visually captivating, it still seems out of place. 

We can see the intentions behind Markus Olzinger's direction of the piece. The direction seems to focus on aiding with the pace of the show and to visually attempt to show that a lot of the action takes place in elaborate, upper class rooms. However, the frequent moving of the piano, tables and chairs after a point feels a bit repetitive to the point where the piece becomes a bit like an elastic band that snaps back into place, as opposed to being as fluid and dynamic as Mozart’s music. That being said, the direction is very effective in demonstrating character status and power dynamics within the world of the show. 

It’s important to keep in mind that historical accuracy isn’t necessarily the goal of adapting a biography, rather sharing a unique perspective on possible perceptions of that particular time period and/or figure. 

Considering that this musical is an adaptation of a story that has been told many times, it is worth mentioning how unique this particular take on the story is. If you’re expecting something like the National Theatre’s ‘Amadeus’ or Theatre Royal Drury Lane’s ‘Mozart: Her story’, you’ve come to the wrong show. It’s more of a sensitive and psychological take on the story of the Mozart family. Leopold is so complex in his presentation as wanting to open doors for his children that were closed to him but going about it in the worst way possible, Anna Maria is shown to be a protective barrier in Mozart’s life and Nannerl ...can be seen as the central protagonist of the story. 

Yes, the show is called ‘Saving Mozart’ but this is a particularly clever name as it can be applied to any member of the Mozart’s family in its non-specificity. We love that this show presents the idea that Mozart is who we know him as because of the women in his life, especially Nannerl, who is the more talented of the two and acts as a guiding light throughout his life. She can be considered to be the true protagonist of the show, even though Amadeus narrates the story. The fact that she was pushed aside due to her sex is very much a strong force in this show, giving this show a fiery, feminist flavour and we love that Eglinton has put the sibling relationship at the centre, showing how both were victims of gender expectations. 

It's a bold move to make a musical out of music that already exists. The orchestrations are audibly stunning, mixing Mozart's music with pop undertones. The lyrics are strong and purposeful enough that we are absolutely in love with the songs, which feel very natural for the characters who sing them, and the script is strong enough that the songs blend smoothly into it, creating a truly beautiful book.  

To add to this, the casting couldn’t be better, and though Jordan Luke Gage has a minor role as Salieri, he makes the perfect villain. He’s characterised as all the more sinister for his idea to watch Mozart run himself into the ground whilst he watches. Yes, he may not say much, but Gage has undeniable stage presence with his minimalistic but flamboyant physicality.

Musically gorgeous, with a creative and highly unique take on this tale of a classical music master. 

Saving Mozart plays at The Other Palace until 30th August 2025.

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★★★★☆ (4*)

Gifted tickets in return for an honest review | Photography by Danny Kaan