“Music is God’s art.” 

So says Antonio Salieri early in Peter Shaffer’s masterpiece Amadeus. The play, threaded with gorgeous selections from some of the most transcendent music ever composed, makes a sturdy argument for that claim.

But Amadeus is far more than a showcase of Mozart’s timeless body of work. Shaffer, in his cleverly constructed fiction, confronts us with a host of tensions: Conformity and nonconformity. Mediocrity and fame. The proximity (or distance) of art making to the divine. The power of politicians to shape culture through encouragement—or censorship. 

Through the decades, our ensemble members have expressed a great deal of love for Amadeus. In a stroke of incredible luck, the stars have finally aligned for us to produce this play—not only in our 50th Anniversary Season, but in our arena-style Ensemble Theater, a venue in which the surround sound of sublime music can envelop and transport an audience. 

In the simplest sense, Amadeus is a story about a freelance artist, heralded as a wunderkind, who arrives in a cosmopolitan city and is quickly pitted against skeptical bureaucrats and bitter rivals. We must remember that Steppenwolf began as an ensemble of teenagers (wunderkinds themselves) who quickly received critical acclaim as a group, in turn jumpstarting individual artistic careers. Questions in the play about greatness, jealousy, generational divides, politics: these are all right at home in this theater which, from the onset, has wrangled with the complexities inherent to devoting one’s life to creating live performance that exists for only the briefest of moments. 

Another incredible piece of serendipity: what an honor to welcome a titan of Chicago theatre to take on this behemoth of a production. Given the immeasurable impact Robert Falls has had on Chicago’s theater landscape during his decades-long tenure at the Goodman Theatre, and his many collaborations with Steppenwolf ensemble members in that time, it is difficult to conceive that this is his Steppenwolf directing debut! 

In this year of milestones in our community (as Steppenwolf celebrates our 50th Season, the Goodman marks a full century) it is an honor to bring Bob’s inquisitive sensibility and steady hand to Steppenwolf at last. 

A final note: if Shaffer is correct in saying that “music is God’s art,” then one might wonder: to whom does theater belong? In this moment, in this city, we stand steadfast in our belief that theater belongs to everyone. Gathering in the same space, breathing the same air, experiencing a single moment in time: it’s an essential part of what it means to be alive. And, in Amadeus, it is hopefully a reminder of the ineffable power of art to transform society—whether that’s for audiences today, or for the “ghosts of the future” in the years to come.

Glenn Davis and Audrey Francis
Artistic Directors

STEPPENWOLF PRESENTS

AMADEUS

Written by Peter Shaffer
Directed by Robert Falls^‡

FEATURING

Ian Barford^†*, Robert Breuler^†*,  David Darrow*, William Dick* (beginning January 2), Andrés Enriquez, Jodi Gage, Ora Jones^†*, Michael Kingston, Aaron Kirby*, Greg Komorowski, Jaye Ladymore*, Gregory Linington*, John Lister^*, Matt Miles, Yasen Peyankov^†* (through December 21), Aja Singletary, Joey Slotnick*, Sawyer Smith* and Erica Stephan*

CREATIVE TEAM

Todd Rosenthal⁺ Scenic Design
Amanda Gladu⁺ Costume Design
Eric Southern⁺ Lighting Design
Connor Wang ⁺ Sound Design
Mikhail Fiksel Music Supervision and Additional Original Music
Nick Sandys Movement and Fight Consultant
Kristina Fluty Intimacy Consultant
Kate DeVore Dialect & Voice Coach 
Bryar Barborka & Jonathan L. Green Dramaturgs
Patrick Zakem Creative Producer
Tom Pearl Producing Director
JC Clementz, CSA Casting
Laura D. Glenn* Production Stage Manager* (through December 14)
Jaclynn Joslin* Assistant Stage Manager (Stage Manager beginning December 15)
Danny Fender* Assistant Stage Manager (beginning December 15)

"Amadeus" is presented by arrangement with Concord Theatricals on behalf of Samuel French, Inc. www.concordtheatricals.com

Music Consulting and Clearances by Yolanda Ferraloro and Julia Bardack, Music Rightz 

† member of the Steppenwolf Theatre Company ensemble.
* member of Actors’ Equity Association, the union of professional actors and stage managers.
+ member of United Scenic Artists, Local 829 of the IATSE.
‡ member of Stage Directors and Choreographers Society, a national theatrical labor union.

This Theatre operates under an agreement between the League of Resident Theatres and Actors’ Equity Association, the Union of Professional Actors and Stage Managers in the United States.

CAST

Ian Barford^†* Antonio Salieri
Robert Breuler^†* Kapellmeister Giuseppe Bonno
David Darrow^* Wolfgang Amadeus Mozart
William Dick* Baron Gottfried van Swieten (beginning January 2)
Andrés Enriquez Citizen of Vienna
Jodi Gage Citizen of Vienna
Ora Jones^†* Venticello 1
Michael Kingston Citizen of Vienna
Aaron Kirby^* Citizen of Vienna
Greg Komorowski Citizen of Vienna
Jaye Ladymore^* Constanze Weber
Gregory Linington^* Joseph II
John Lister^* Count Franz Orsini-Rosenberg
Matt Miles Citizen of Vienna
Yasen Peyankov^†* Baron Gottfried van Swieten (through December 21)
Aja Singletary Citizen of Vienna
Joey Slotnick^* Count Johann Kilian von Strack
Sawyer Smith^* Venticello 2
Erica Stephan^* Katherina Cavalieri

UNDERSTUDIES

Andrés Enriquez Baron Gottfried van Swieten
Jodi Gage Venticello 1 / Katherina Cavalieri
Michael Kingston Count Franz Orsini-Rosenberg, Kapellmeister Bonno
Aaron Kirby^* Mozart
Greg Komorowski Joseph II
Matt Miles Count Johann Kilian von Strack
Eric James Norman Citizen of Vienna Swing
Nick Sandys^* Salieri
Aja Singletary Venticello 2
Erica Stephan^* Constanze Weber

ADDITIONAL STAFF

Michelle Medvin Stage Management Cover
Charlotte Rivard-Hoster Piano Coach
Diane Machin Assistant Director
Alan E. Schwanke Assistant Scenic Design
Lia Wallfish Associate Costume Design
Trey Brazeal Assistant Lighting Design
Newt Schottelkotte Assistant Sound Design
Olivia Ellery & Liz Shirley Production Assistants
Emmerich Mager & Jack Warner Sound Technician
Elly Burke, Kaia Mortensen, Ali Westendorf Dressers
Ella Johnson, Mel Motz, Nora Sammons Swing Dressers
Megan Pirtle Wig Coordinator
Miguel Armstrong Associate Wig Coordinator
Jennifer Lightfoot, Hannah Lunt, Mark Park Wig Artisans
Hannah Andruss, Necole Bluhm, Finnegan Chu, Katie Cordts, Anthony J. Harris, Ansley Juan, Jennifer Lightfoot, Hannah Lunt, Bridget Rzymski, Franziska Valus, Jenna Wilson Wig Knotters
Kindall Houston Almond, Aidan Griffiths, Sophie Howard, Chloe Levy Costume Design Assistants
Nancy Sidman Draper/Alterations Manager
Lyndsie Crawford First Hand
Brenna Kaplan-Keshguerian, Verarose Morici, Riley Trzeciak, Kyra Pan, Kat Poon Stitchers
Lauren Wooten Costume Craftsperson
Maegan Pate, Z.M. Agha Costume Assistants
Alexander Zeek Tailor
Elizabeth Flauto Milliner
Josh Derby, Billy Earnesse, Kenny Faust, John McTaggart Additional Carpenters
Jamie Auer & Marcus Klein Additional Properties
Zhanna Albertini, Jessica Wardell, Abby West Additional Paint

Costumes Provided in part by Austin Pettinger.

Costumes Provided in part by Carolyn Cristofani. 
The Producers wish to thank the TDF Costume Collection Rental Program for its assistance in this production.
Select costumes provided by Sarasota Opera Association, Inc.

Special Thanks:
Northwestern University Costume Shop
Roosevelt University Costume Shop
Huntington Theatre Company
Oregon Shakespeare Festival
Utah Opera
Western Costume Company
Haymarket Opera
DePaul University Costume Shop
Chicago Shakespeare Theater
University of Michigan Costume Shop
American Players Theatre
Santa Fe Opera
Washington National Opera
Chicago School of Shoemaking

Amadeus runs approximately 2 hours and 45 minutes,  including a 15-minute intermission. 

As a courtesy to the actors and your fellow patrons, please turn off your cell phones before the performance. The taking of photographs and the use of any type of recording device are not allowed in the theater during performances and is a violation of state and federal copyright laws; digital media will be deleted, and tape or film will be confiscated.

Entry and re-entry into the theater after the performance begins is not guaranteed.

The theater reserves the right to limit admission of children younger than the age of six.