SAVING MOZART
The Other Palace
★★★★
“Jack Chambers’ Mozart movingly shows every single hope, fear and regret”
Saving Mozart by Charli Eglinton bursts onto the stage, bringing Amadeus Wolfgang Mozart and his complex family dynamics to life and bang up to date. Though like Mozart’s actual career, it gets a little lost at points.
A modern musical about the man behind the mastery, Saving Mozart explores the complex relationships that challenge and drive him. The close bond with his equally prodigious sister Nannerl is shaken; his taskmaster father prioritises success and society over his children; his protective mother (spoiler alert) dies too soon; his rival Salieri both guides and gets in the way, and his ambitious wife Constanze pushes him on when all seems lost.
Eglinton’s writing injects humanity into the story, showing us the struggles and successes inside Mozart’s troubled mind. Satisfyingly, the women in his life are credited as the real reasons for his success. That said, the plot suffers from trying to do too much, charting his itinerant career and several complex relationships and exploring themes that sometimes go nowhere. Between that and a score bursting with songs, the core of the piece gets a little lost. This isn’t helped by some character inconsistencies. The father, Leopold, lacks a coherent character arc, instead flipping between unforgiving stage dad and regretful father figure. Salieri seems to go out of his way to hamper Mozart’s career before abruptly making amends. Even Nannerl, who dotes on Mozart in Act 1, sides entirely with her father in Act 2 despite him scuppering her life’s happiness. Even if this is what happened in real life it could be more nuanced, perhaps through more dialogue.
Eglinton’s score is fantastic, cleverly weaving in fragments of Mozart’s music and completely reinventing them within a very modern sound drawing on pop, rock, blues and even Michael Bublé. There are some very catchy songs, such as the virtuosic opening number ‘Remember Me’; devastating songs, such as the mother’s soulful ‘He’s Only a Child’; and high energy ensemble songs, such as ‘Stand Up Stand Down’. Though again, the score feels a little full and perhaps could be refined to create some breathing space.
Co-directed by Taylor Walker and Markus Olzinger, the piece is emotionally charged from the off. Mozart narrates his life as the only character breaking the fourth wall, drawing you into his troubled mind from the beginning. He also shadows his younger self, deepening the poignancy of these formative moments.
The cast is stunning. Jack Chambers’ Mozart movingly shows every single hope, fear and regret while delivering soaring yet raw vocals. Aimie Atkinson’s Nannerl exudes brilliance, wit, affection and frustration with equally nuanced vocals. Jordan Luke Gage’s smouldering Salieri absolutely sizzles with knowing cynicism and a voice to die for. Gloria Onitiri’s Anna Maria Mozart is devastatingly soulful. Izzie Monk absolutely holds her own as Little Mozart, with the stage presence and singing capability of a much older actor. The ensemble brings the energy and nails Walker’s choreography, executing a range of styles with precision and prowess, though would benefit from a bit more space. The musicians and musical direction by Robert Wicks are also fantastic, bringing the score to life with biting precision and virtuosic skill.
Justin Williams’ set design is modern and monochrome, with a big white ‘M’ dominating more familiar elements of the otherwise minimalist set (much like Mozart himself). Julia Pschedezki and Lucy K. Crew’s costumes bring haute couture to the stage, elevating 18th century ruffs and frills with enviable silhouettes and styles. This contrasts with 18th century style wigs and hair (Renate Harter) which are beautiful and complex. Sound design (Tom Marshall) is spot on, blending seamlessly with the score. Lighting design (Ben Jacobs) is at points as iconic as the action on stage.
Based on writing alone, I’m not sure if Saving Mozart achieves its aim; but the cast, score, choreography, design and direction more than make up for it in this sizzling, foot tapping, bass thumping musical that will make audiences fall in love with Mozart all over again.
SAVING MOZART
The Other Palace
Reviewed on 5th August 2025
by Hannah Bothelton
Photography by Danny Kaan
Last ten shows reviewed at this venue:
THE LIGHTNING THIEF | ★★★ | March 2025
HOMO ALONE | ★★★ | December 2024
JULIE: THE MUSICAL | ★★½ | June 2024
CRUEL INTENTIONS: THE 90s MUSICAL | ★★★★ | January 2024
A VERY VERY BAD CINDERELLA | ★★★★ | December 2023
TROMPE L’OEIL | ★★★ | September 2023
DOM – THE PLAY | ★★★★ | February 2023
GHOSTED – ANOTHER F**KING CHRISTMAS CAROL | ★★★★★ | December 2022
GLORY RIDE | ★★★ | November 2022
MILLENNIALS | ★★★ | July 2022
