Few figures in music stir the imagination quite like Mozart—a name synonymous with both genius and enigma. But what happens when his storied life is reimagined through a bold, contemporary lens? Enter Saving Mozart, Charli Eglinton’s new musical, which fearlessly dissects and breathes unexpected vigour into a tale we thought we knew. The result? A kaleidoscopic journey through a very modern lens, inviting us to see the maestro and the forces that shaped him in an entirely and somewhat eccentric new light.
Instead of keeping Mozart (Jack Chambers) at centre stage, Eglinton boldly hands the spotlight to the powerhouse women orbiting his life: his talented sister Nannerl (Aimie Atkinson), his fiercely protective mother Anna Maria (Gloria Onitiri), and rock-solid and protective wife Constanze (Erin Caldwell). Their influence pulses through pop and hip hop-laced numbers with kinetic and at times robotic choreography, injecting the show with a fresh, youthful buzz. Sure, Mozart’s own music takes a back seat, sometimes jarringly so, but the intent is crystal clear: reframe the maestro’s legacy for a new generation. The only snag? The production leaves you wondering not just who Mozart was, but why his genius mattered in the first place.
Nannerl, Anna Maria, and Constanze each contribute their own distinct strengths, bringing genuine emotion and richness to the performance. These moments elevate the show however, even with these standout elements, the narrative at times drifts and can feel either disjointed or overly sentimental. Mozart’s Father, Leopold, played by Douglas Hansel, brings an overly dominant and protective father into the trio of feminine forces.
The show tries to cover a lot, but in doing so, it skips over the accomplishments that made Mozart famous in the first place. Mozart at times often fades slightly into the background, which is surprising for a musical that bears his name. People who don’t know much about Mozart might leave the show unsure about why he’s such an important figure in music history.
Visually, the production makes a striking impression. Justin Williams’ set, dominated by a giant “M,” draws the audience into a world that’s both punk-inspired and retro. Julia Pschedezki’s flamboyant costumes add a dramatic edge, while Taylor Walker’s choreography, bold and often surreal, amplifies the show’s theatrical energy. Although the ensemble’s energetic dance numbers sometimes feel excessive or unnecessary, the visual spectacle remains consistently engaging and entertaining.
The whole production is a little chaotic, slightly rebellious, and avant-garde in parts. The ensemble cast pours energy into unpredictable dance numbers, each moment daring you to let go of the classical biography you might have expected. Amidst this inventive whirlwind, the show delivers several outstanding musical numbers.
In the end, Saving Mozart impresses with its striking visuals and inventive musical moments. You will hear the music of Mozart intertwined into the songs however, the famous notes are somehow lost in the craziness of the moment. The production’s heartfelt effort to spotlight the women who shaped Mozart’s life is both commendable and touching, but it comes at the expense of fully showcasing the composer’s own brilliance.
For theatre-goers who appreciate inventive takes on historical figures, there’s plenty to admire here however, don’t expect a thorough telling of one of music’s legends. The production takes bold risks, but the result isn’t always perfectly in tune.
It runs until 30 August. Tickets: here.
Review: David Simmonds Photo: Danny Khaan