Riverside City College’s production of Amadeus, opening April 24 at 7pm, directed by Jason Buuck (The Diviners, She Kills Monsters), is an ambitious, visually arresting, and emotionally resonant interpretation of Peter Shaffer’s iconic drama. With stunning lighting, opulent costuming, and a soundtrack of classical brilliance, this staging brought Salieri’s tortured envy and Mozart’s chaotic genius to vivid life.

Buuck, known for his intimate and inventive black box productions, made a bold leap to the expansive Landis Performing Arts Center stage. While the grandeur of the space occasionally dwarfed the intimacy of certain moments, Buuck's strategic use of lighting, designed by Gavan Wyrrick, compensated beautifully—painting each scene with mood, tension, and elegance. From candlelit whispers of conspiracy to the bright, blinding ecstasy of Mozart’s performances, Wyrrick’s lighting design carried the weight of emotion where sets left space.

Costume and makeup design by Marci Alberti was a tour de force. The show luxuriated in 18th-century decadence, with powdered wigs, embroidered silks, and lavish gowns that made every actor look plucked straight from a period painting. Especially noteworthy were the Venticelli—Ren Ferreira, Carissa Willis, Alina Ares, and Gabriella Gutierrez—gossiping, ever-present whispers of the Viennese court. They not only served as theatrical devices but as visual icons. Their courtesan-inspired looks shimmered with both opulence and menace, delighting the audience as flamboyant, whispering “mean girls” who reveled in spilling every ounce of scandalous tea.

Justin Farris delivered a deeply impressive performance as Antonio Salieri. Taking on a role that demands near-constant stage presence and vast stretches of dialogue—often delivered without the support of other actors on stage—Farris maintained a commanding and magnetic presence throughout. His ability to carry long, introspective monologues with clarity and emotional depth was a feat in itself. The “fourth wall breaks,” where Salieri addresses the audience as if they are the ghosts of his past, were especially effective. Farris engaged this imagined tribunal with intensity and intimacy, drawing the audience into his confessions and moral unraveling. His portrayal painted Salieri not merely as a villain, but as a man gripped by divine betrayal and self-loathing—a haunting portrait of a talent eclipsed.

In contrast, Triston Andrews’ Wolfgang Amadeus Mozart was all wild energy and brilliant light. His infectious laugh, frenetic physicality, and masterful comedic timing offered a sharp, delightful counterpoint to Salieri’s brooding. This performance marked a standout debut for Andrews on the RCC stage, heralding a promising future in theater.

As Emperor Joseph II, Juan Casas brought a well-balanced charm and authority to the court, anchoring the chaos around Mozart with regal restraint and subtle wit. His ability to play both commanding and affably clueless recalled his hauntingly nuanced turn as Buddy Layman in The Diviners, where he explored emotional vulnerability and innocence with heartbreaking precision. Casas continues to be one of RCC’s most versatile talents, seamlessly adapting to radically different characters with depth and humanity.

The musical selections, naturally, elevated the show to a spiritual level. The haunting strains of Mozart’s Requiem underscored the play’s climactic moments, adding emotional weight and historical gravitas. Sound designer Jacob Carty wove the music seamlessly into the fabric of the production, never overwhelming, but always enhancing.

In a production so full of technical finesse and emotional complexity, Amadeus at RCC was more than just a student performance—it was a powerful meditation on envy, artistry, and legacy. Buuck’s vision, supported by a stellar design team and an impassioned cast, proved that even the most intimate stories of obsession and brilliance can fill a grand stage.

Amadeus runs at the Landis Performing Arts Center from April 24–27, 2025. Tickets available from RCC's Online Box Office. This play is suggested for Mature Audiences only, and no late seating will be allowed.