A Touch of the Poet: Artistic Home Presents O'Neill's Family Drama
* Additional fees apply.
All offers for A Touch of the Poet have expired.
The last date listed for A Touch of the Poet was Sunday November 6, 2011 / 3:00pm.
Currently at Stage 773:
- Full Price:
- Our Price:
The Tony Award winner for Best Play -- and later, adapted to the screen, the Academy Award winner for Best Picture -- returns to the stage. In this classical music-driven drama from Bohemian Theatre Ensemble, composer Antonio Salieri, now in his twilight years, makes a bold claim: He may have killed Wolfgang Amadeus Mozart. Looking back on his life, Salieri explores his passionate, turbulent rivalry with the boorish but brilliant Mozart, alternating between trusted confidant and devious backstabber. But does Salieri actually have Mozart's blood on his hands, or is this just a way to escape his own obscurity? Interwoven with the masterful music of these two composers, Amadeus explores how far mortal man is willing to go in order to achieve the immortality that comes with being remembered. Learn More
Reviews & Ratings
Featured review from Bob Armstrong
view more less of this review
Very good production but didn't really like the play. Have a feeling this play was not performed during Eugene O'Neill's lifetime for different reasons than the autobiographical Long Day's Journey: O'Neill knew there was something missing.
Some "touches" are a somewhat weary retreading of Long Day's Journey, which was written two years earlier: a main character's turning on a hairpin from calm to vicious, reliance on alcohol consumption to trigger emotional outpourings and comic relief, and the insistence on a rigidly-square-shaped set to suggest the number four and the imperfect maturity of the male protagonist, a la Oedipus at the base of Cithaeron (in Poet the "real" American aristocrat remains unseen upstairs, at the King-identified apex of the family's little pyramid. Okay, we get it). Main imperfection O'Neill must have sensed is a sudden personality change in one of the characters near the end. The more the characters protract the arguments in this story the less likeable they become. The young are almost as unpleasant as the old because, presumably, they were going to be the old characters whenever the sequel to this first chapter of the Melody family history would be written. Whether or not there's an artistic point here that satisfies O'Neill, there's little commercial angle to make people watch, only historical curiosity.
Acting consistently good, especially strong identity anchored in senior Melody patriarch, who even bears physical resemblance to some great character actors of the past (Donald Crisp? Anthony Quayle?). Period set quite plausible but too new-looking: should be scruffed up a little, maybe even dirtied up.
This play was somewhere on my "I always meant to see that" list, so for that reason I'm glad I did. Give company credit for attempting problematical work.
Seating is a bit cramped, and I notice audience members, especially women, have tendency to sit with legs crossed, so steel your back for attacks from the rear with lots of pointy shoes. I just can't imagine how so many people are so inconsiderate of the body space of others in a theatre setting.