A & E

Toward the end of his life, the composer thought someone was poisoning him.

In Peter Shaffer's "Amadeus," being performed by the Pittsburgh Public Theater, speculation includes alcoholism and syphilis. And early in the play, Mozart's rival, the composer Antonio Salieri, claims to have murdered him.

But the drama that follows is not your traditional murder mystery.

Instead of exploring whodunit or when's he going to do it, this highly intense and theatrical, richly constructed drama allows audiences to contemplate the question: Did he do it?

The play takes place in Vienna in 1823, as Salieri recalls events that took place between Mozart's arrival at the Austrian court in 1781 and his death in 1791.

Shaffer's script is an intellectual and emotional exercise that employs abundant narration as Salieri explains the historical facts, emotional and political issues surrounding his relationship with and jealousy of Mozart.

All this talk could make for a static production. But director Ted Pappas moves the proceedings along with vigorous and often physical action. And the highly creative team of scenic designer James Noone, costume designer Susan Tsu, lighting designer Kirk Bookman and sound designer Zack Moore provide abundant visual and aural interest.

The late 18th century was an era of excess, and this production invests much effort and imagination in re-creating it with intricate polished-tile floors, crystal chandeliers and wall sconces with flickering candles, costumes embellished with gold and silver brocade and sound snippets of music and the intriguing whisper of court gossip.

Tony Abatemarco's Salieri introduces himself as an ascetic who has made a pact with God to devote his life to creating music. So, it's something of a distraction that he sports a tiny soul patch beneath his lower lip and a tiny gold hoop in his left ear. Then again, maybe he's signalling self-deception or hypocrisy.

Far from saintly he's a vengeful, jealous schemer who is offended by Mozart's contradictions.

Harris Doran's Mozart makes it clear why Salieri would despise him. Doran plays him as exhaustingly young, vulgar and full of himself. Despite his pact with God, Salieri writes music that is workmanlike. Mozart is carnal, trivial and hot-headed, yet writes music that Salieri likens to transcribing the word of God.

The production shows how easy it is for Salieri to orchestrate Mozart's downfall.

Daniel Krell plays Austrian Emperor Joseph II as entertainingly simplistic and dim-witted. As unimaginative court bureaucrats with the power to block or support Mozart's work, Christopher Josephs, Larry John Meyers and Alex Coleman prove a trio of disapproving toads.

Daina Michelle Griffith ably demonstrates the multiple facets of Mozart's wife, Costanze, and Karen Baum is colorfully flamboyant as Salieri's ambitious pupil, Katerina.

It's interesting to watch Doran's Mozart progress from silly youngster to his end as a driven, sickly and haunted -- yet still amazingly talented -- composer.

Coming in at nearly two hours and 45 minutes with one intermission, this intense drama is filled with nuances and subtleties that require careful listening and attention throughout. But, if you're willing to invest the effort to mine its depths, you'll be rewarded by the glow from exercising your mind and your emotions.

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