⭐⭐⭐ (Three Stars)

Saving Mozart, the new musical playing at The Other Palace Theatre, charts the life of one of music’s most iconic historical figures (Wolfgang Amadeus Mozart), but ultimately feels like a promising first draft that hasn’t quite found its final form.

The show, written and composed by Charli Eglinton and directed by Markus Olzinger, spans Mozart’s life, beginning with his strained relationship with his demanding father (Douglas Hansell), who pushes him to become a musical prodigy like his sister Nannerl (Aimie Atkinson). As Mozart reaches adulthood, his relationships, both romantic (with Erin Caldwell’s Constanze) and professional (with rival composer Salieri, played by Jordan Luke Gage) become central to the plot.

The first act is narrated by adult Mozart (Jack Chambers, giving a nuanced and believable performance), who breaks the fourth wall to acknowledge his character’s legacy and guide the audience through his memories. This is a useful structural device that unfortunately disappears in Act Two, leading to a tonal shift that feels somewhat jarring. That said, the second act benefits from an injection of humour that’s a welcome relief after the earnest and sincere tone of the first act.

Musically, the show has moments of real strength, particularly in its anthemic ensemble numbers and a few standout solos. Gloria Onitiri delivers a moving performance as Mozart’s mother, beautifully expressing the emotional cost of his father’s ambition and single-mindedness. Jordan Luke Gage, as Salieri, brings intensity and vocal prowess to his numbers, although the rivalry between Mozart and Salieri - one of the most interesting threads in the show - never quite gets explored to its full potential. The score, while ambitious, could benefit from some trimming: several ballads in Act One feel redundant and slow down the pacing without adding much depth to the plot or characters.

Visually, the production makes clever use of The Other Palace’s compact space. Justin Williams' set design, featuring a large M-shaped structure that allows for multiple levels and an ever-present piano, keeps things dynamic without overwhelming the small stage. Julia Pschedezki’s costume design merges historical features such as ruffles and corsets with modern silhouettes, much like Taylor Walker’s choreography, which blends classical and contemporary movement styles to striking effect.

Still, some creative choices misfire: notably the show’s opening, in which ensemble members gather in silence one by one to stare at a spotlighted quill. While presumably symbolic, the moment overstays its welcome and leaves the audience unsure of how to respond or whether the performance has begun yet.

There’s much to admire in Saving Mozart: a strong cast delivering excellent vocals, effective design, and glimpses of a compelling story. For now though, it’s a thoughtful, if uneven, production with real potential.

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

Tickets Available Here