History Theatre / Mozart

%% * GettingCrapPastThe Radar: Due to overwhelming and persistent misuse, GCPTR is on-page examples only until 01 June 2021. If you are reading this in the future, please check the trope page to make sure your example fits the current definition.

The musical made its world premiere at the Theater an der Wien in 1999, starring Yngve Gasoy-Romdal as Mozart, Thomas Borchert as Leopold Mozart, and Uwe Kröger as Colloredo. A DVD of the revival cast was recorded in Raimund Theater, Vienna, in 2015. It starred Oedo Kuipers as Mozart, Sophie Wilfert as Amadè (both pictured), Thomas Borchert reprising his role as Leopold Mozart, and Mark Seibert as Prince Colloredo. Both of the above productions have released cast recordings as well.

* CreepyChild: Amadè. [[spoiler: Casually stabbing Wolfgang with a quill, first in the arm, then in the heart, to get his blood for the sheet music]] with a miffed expression isn't the least of it. Fittingly, the Ensemble outright calls him a "demon in the for of a boy" during "Wie wird man seinen Schatten los".

* CreepyChild: Amadè. [[spoiler: Casually stabbing Wolfgang with a quill, first in the arm, then in the heart, to get his blood for the sheet music]] with a miffed expression isn't the least of it.

* AmbiguousDisorder: Kuipers' Mozart displays many of the traits associated with people on the autism spectrum.[[note]]The idea as to whether or not the composer was on the spectrum has been the subject of debate.[[/note]]
** He's very blunt - he says what he means, and he means what he says, refusing to kowtow to anyone. He even sasses the Emperor, who luckily take it in stride.
** He has NoSocialSkills. Leopold even says outright that he is "too childish for the cold and cunning game of life".
** His spending habits show a lack of foresight. Examples include his sending money to Mannheim for the Webers while his mother is starving, and his gambling away the money he intended to send his sister for her marriage.
** He's rocking back and forth in a fetal position (hard to spot because he's sitting on a piano stool) during ''Niemand liebt dich so wie ich (Reprise)''.
** During ''Papa ist tot'', at news of a tragic event, he puts his thumb in his mouth as Constanze is trying to comfort him and Nannerl is saying she would never forgive him.
** Music is his special interest, which has many repetitive movements (especially piano playing), suitable for self-stimulation/stimming.

** He has NoSocialSkills. Leopold even says outright that he is "too childish for the cold and cunning game of life,".

* GettingCrapPastTheRadar: A ''literal'' case. Eagle-eyed viewers of the DVD may notice that during "Wien wird mich um ihn beneiden", when Colloredo ducks behind a screen, an attendant can be seen grabbing a chair with a hole in it. Said chair is used for the bathroom.

* DeadlyDecadentCourt: Vienna, "where they kiss you on the hand and stab you in the back."

* ManInWhite: Wolfgang, in contrast to Leopold and Colloredo's black costumes. It symbolizes his purity and childishness, contrasted with the "cold and cunning" world.

Michael Kunze and Silvester Levay's second collaboration after Theatre/{{Elisabeth}}, based on the life of Music/WolfgangAmadeusMozart.

* AmbiguousDisorder: Kuipers' Mozart displays many of the traits associated with people on the autism spectrum.

* Fanservice: Lots, catering to audiences of various inclinations.

** Poor the actual Colloredo, whose reputation in the English-speaking world has been smeared beyond repair. In real life, Mozart's behavior was justifiable for his patron to turn him away. The musical flat out turns him into Mozart's abusive, controlling ex.

*** Aversion (almost as an interlude/{{Foreshadowing}}): During ''Wien wird mich um ihn beneiden,'' he is traveling and ducks behind a screen ostensibly to change, but when the actor pops up to angrily declare (in a rather possessive voice) that Mozart is not to go to fairgrounds, he's still wearing the same clothing.

Like Theatre/{{Amadeus}}, it's by no means accurate. It blends elements of reality and the Mozart mythos (much of which was perpetuated by his widow Constanze). There are three main conflicts: The first one is between Wolfgang and Leopold Mozart, the father loving the son wholeheartedly but unable to let him go, and the son wanting to please his father but unable to succeed, and ending up sabotaging their relationship forever. The second one is between Mozart and his patron Colloredo, the former not amused by having his personal and artistic freedom curtailed, refusing to bow down to nobility and power, the latter angry over the fact that a lowly tunesmith managed to scorn everything he had ever stood for and yet achieved perfection. The final one is between Mozart himself and Amadè, the porcelain child, a symbol of his genius, as they have an All Take and No Give relationship on the part of Amadè.

* MythologyGag: Cäcilia and Constanze's argument over whether the latter should coerce Wolfgang to marry her is sung partially to the tune of Der hölle Rache, also known as the Queen of the Night aria from Theatre/TheMagicFlute.

* SoundEffectBleep: During ''Ich bin extraordinär'', Cäcilia censors Wolfgang's swearing by tooting a horn in Arco's face. Averted for the very last "get f- [dialogue] UUUUUUUUCKED!", turning it into a PrecisionFStrike. The English subtitles helpfully fill in the censored words in brackets, though.