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Changed line(s) 16 (click to see context) from:
--> '''Mozart:''' You stole my time, you stole my money! Locked me up in your world!
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Changed line(s) 18,20 (click to see context) from:
--> '''Colloredo:''' Go to Vienna and bring ''my'' Mozart back. [[note]]Emphasis included in the show. Mark Seibert pauses significantly between "my" and "Mozart". Granted, he was probably making a distinction between Wolfgang and Leopold junior, but that has not stopped the shippers.[[/note]]
--> '''Leopold:''' I created one genius. I can do it again any time.
--> '''Colloredo:''' Enough! I want the real Mozart. Arco!
--> '''Leopold:''' I created one genius. I can do it again any time.
--> '''Colloredo:''' Enough! I want the real Mozart. Arco!
to:
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Changed line(s) 8 (click to see context) from:
* HeartwarmingMoments: In 2006, Creator/TomoyoKurosawa (age 9) was Amadè to Akinori Nakagawa's Mozart. Since then, she has become quite famous as a voice actor. In 2022 at the Japan Winter Musical Fest concert, she and Nakagawa reunited and sang "''Boku koso Music''" ("''Ich bin Music''") together as a duet.
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* HeartwarmingMoments: SugarWiki/HeartwarmingMoments: In 2006, Creator/TomoyoKurosawa (age 9) was Amadè to Akinori Nakagawa's Mozart. Since then, she has become quite famous as a voice actor. In 2022 at the Japan Winter Musical Fest concert, she and Nakagawa reunited and sang "''Boku koso Music''" ("''Ich bin Music''") together as a duet.
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Added DiffLines:
* HeartwarmingMoments: In 2006, Creator/TomoyoKurosawa (age 9) was Amadè to Akinori Nakagawa's Mozart. Since then, she has become quite famous as a voice actor. In 2022 at the Japan Winter Musical Fest concert, she and Nakagawa reunited and sang "''Boku koso Music''" ("''Ich bin Music''") together as a duet.
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* 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]]
to:
* AmbiguousDisorder: DiagnosedByTheAudience: 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]]
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Fixed the YMMV example
Added DiffLines:
* 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'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.
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Changed line(s) 2 (click to see context) from:
** Mozart says, "I can taste death on my tongue." [[spoiler: on his deathbed.]] Throughout the show, Mozart refers to himself as a prince. It's accidentally funny because Levay and Kunze's prior collaboration is Theatre/{{Elisabeth}} in which a Prince (Rudolf) has quite a lot of HoYay and HomoeroticSubtext with Death himself. Which includes a [[spoiler: fatal kiss.]] Many a Rudolf went on to play Mozart (not Oedo Kuipers from the DVD, but Thomas Hohler, Gernot Romic, etc., and at least two Deaths went on to play Colloredo (Uwe Kröger and Mark Seibert). Plus, Ilia Hollweg played Amadè, while her brothers Timotheus and Aeneas alternated the role of little Rudolf.
to:
** Mozart says, "I can taste death on my tongue." [[spoiler: on his deathbed.]] Throughout the show, Mozart refers to himself as a prince. It's accidentally funny because Levay and Kunze's prior collaboration is Theatre/{{Elisabeth}} Theatre/{{Elisabeth}}, in which a Prince (Rudolf) has quite a lot of HoYay and HomoeroticSubtext with Death himself. Which includes a [[spoiler: fatal kiss.]] Many a Rudolf went on to play Mozart (not Oedo Kuipers from the DVD, but Thomas Hohler, Gernot Romic, etc., and at least two Deaths went on to play Colloredo (Uwe Kröger and Mark Seibert). Plus, Ilia Hollweg played Amadè, while her brothers Timotheus and Aeneas alternated the role of little Rudolf.
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Changed line(s) 15 (click to see context) from:
* {{Narm}}: The blatant anachronisms (an [=RV=] in eighteenth century Austria, the costumes of Mozart and the Webers...) are impossible to take seriously.
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* {{Narm}}: The blatant anachronisms (an [=RV=] in eighteenth century Austria, the costumes of Mozart and the Webers...) are impossible to take seriously.seriously unless the audience enjoys NarmCharm.
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Changed line(s) 2 (click to see context) from:
** Mozart says, "I can taste death on my tongue." [[spoiler: on his deathbed.]] Throughout the show, Mozart refers to himself as a prince. It's accidentally funny because Levay and Kunze's prior collaboration is Theatre/{{Elisabeth}} in which a Prince (Rudolf) has quite a lot of HoYay and HomoeroticSubtext with Death himself. Which includes a [[spoiler: fatal kiss.]] Many a Rudolf went on to play Mozart (not Oedo Kuipers from the DVD, but Thomas Hohler, Gernot Romic, etc., and at least two Deaths went on to play Colloredo (Uwe Kröger and Mark Seibert). Plus, little Rudolf and Amadé share some actors (e.g. Aeneas Hollweg).
to:
** Mozart says, "I can taste death on my tongue." [[spoiler: on his deathbed.]] Throughout the show, Mozart refers to himself as a prince. It's accidentally funny because Levay and Kunze's prior collaboration is Theatre/{{Elisabeth}} in which a Prince (Rudolf) has quite a lot of HoYay and HomoeroticSubtext with Death himself. Which includes a [[spoiler: fatal kiss.]] Many a Rudolf went on to play Mozart (not Oedo Kuipers from the DVD, but Thomas Hohler, Gernot Romic, etc., and at least two Deaths went on to play Colloredo (Uwe Kröger and Mark Seibert). Plus, Ilia Hollweg played Amadè, while her brothers Timotheus and Aeneas alternated the role of little Rudolf and Amadé share some actors (e.g. Aeneas Hollweg).Rudolf.
Changed line(s) 5 (click to see context) from:
** The same joke involving PopCultureOsmosis is cracked in both shows. In ''Mozart'', no one outwardly reacts to Schikaneder's announcement that he's coming to town to play a show except Mozart, because they don't know who he is. In Theatre/{{Schikaneder}}, when trying to stop the theatre from being shut down, Emanuel pleaded with the inspector that "Is it possible that the world will never hear the greatest work yet completed by Wolfgang Amadé Mozart?" only to get a {{Beat}} and an "I have no idea who that is."
to:
** The same joke involving PopCultureOsmosis is cracked in both shows. In ''Mozart'', no one outwardly reacts to Schikaneder's announcement that he's coming to town to play a show except Mozart, because they don't know who he is. In Theatre/{{Schikaneder}}, when trying to stop the theatre from being shut down, Emanuel pleaded with the inspector that "Is it possible that the world will never hear the greatest work yet completed by Wolfgang Amadé Amadè Mozart?" only to get a {{Beat}} and an "I have no idea who that is."
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Added DiffLines:
* {{Narm}}: The blatant anachronisms (an [=RV=] in eighteenth century Austria, the costumes of Mozart and the Webers...) are impossible to take seriously.
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Changed line(s) 13 (click to see context) from:
** Mark Seibert, following his tendency to milk the HoYay and HomoeroticSubtext for all it's worth (examples include ''Theatre/RomeoEtJulietteDeLaHaineALamour'' and ''Theatre/{{Elisabeth}}''), delivers. He plays Colloredo reacting to Mozart's quitting like he's taking it as a personal affront, snarling the lines. While [[ShirtlessScene shirtless.]] Oedo Kuipers stalks right up to Seibert's face, close enough to kiss, and tells the Prince to "kiss [his] ass". [[note]]Colloredo complies by having his [[TheDragon Dragon]] Arco kick Mozart out. Literally, with a kick on his ass. Which happened in real life, per an angry letter home from Mozart.[[/note]] He also pats Mozart (with a gloved hand) on the cheek.
to:
** Mark Seibert, following his tendency to milk the HoYay and HomoeroticSubtext for all it's worth (examples include ''Theatre/RomeoEtJulietteDeLaHaineALamour'' and ''Theatre/{{Elisabeth}}''), delivers. He plays Colloredo reacting to Mozart's quitting in "Ich bleibe in Wien" like he's taking it as a personal affront, snarling the lines. While [[ShirtlessScene shirtless.]] During a later scene, "Der einfache Weg", he also pats Mozart (with a gloved hand) on the cheek.
** Oedo Kuipers stalks right up to Seibert's face, close enough to kiss, and tells the Prince to "kiss [his] ass". [[note]]Colloredo complies by having his [[TheDragon Dragon]] Arco kick Mozart out. Literally, with a kick on his ass. Which happened in real life, per an angry letter home from Mozart.[[/note]]He also pats Mozart (with a gloved hand) on the cheek.
** Oedo Kuipers stalks right up to Seibert's face, close enough to kiss, and tells the Prince to "kiss [his] ass". [[note]]Colloredo complies by having his [[TheDragon Dragon]] Arco kick Mozart out. Literally, with a kick on his ass. Which happened in real life, per an angry letter home from Mozart.[[/note]]
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Changed line(s) 10,11 (click to see context) from:
--> '''Colloredo:''' Go to Vienna and bring ''my'' Mozart back. [[note]]Emphasis included in the show. Mark Seibert pauses significantly between "bring" and "my".[[/note]]
--> '''Leopold:''' I created one genius. I can do it again anytime.
--> '''Leopold:''' I created one genius. I can do it again anytime.
to:
--> '''Colloredo:''' Go to Vienna and bring ''my'' Mozart back. [[note]]Emphasis included in the show. Mark Seibert pauses significantly between "bring" "my" and "my"."Mozart". Granted, he was probably making a distinction between Wolfgang and Leopold junior, but that has not stopped the shippers.[[/note]]
--> '''Leopold:''' I created one genius. I can do it againanytime.any time.
--> '''Leopold:''' I created one genius. I can do it again
Changed line(s) 13 (click to see context) from:
** Mark Seibert, following his tendency to milk the HoYay and HomoeroticSubtext for all it's worth (examples include ''Theatre/RomeoEtJulietteDeLaHaineALamour'' and ''Theatre/{{Elisabeth}}''), delivers. He plays Colloredo reacting to Mozart's quitting like he's taking it as a personal affront, snarling the lines. While [[ShirtlessScene shirtless.]] Oedo Kuipers stalks right up to Seibert's face, close enough to kiss, and tells the Prince to "kiss [his] ass". [[note]]Colloredo complies by having his [[TheDragon Dragon]] Arco kick Mozart out. Literally, with a kick on his ass.[[/note]] He also pats Mozart (with a gloved hand) on the cheek.
to:
** Mark Seibert, following his tendency to milk the HoYay and HomoeroticSubtext for all it's worth (examples include ''Theatre/RomeoEtJulietteDeLaHaineALamour'' and ''Theatre/{{Elisabeth}}''), delivers. He plays Colloredo reacting to Mozart's quitting like he's taking it as a personal affront, snarling the lines. While [[ShirtlessScene shirtless.]] Oedo Kuipers stalks right up to Seibert's face, close enough to kiss, and tells the Prince to "kiss [his] ass". [[note]]Colloredo complies by having his [[TheDragon Dragon]] Arco kick Mozart out. Literally, with a kick on his ass. Which happened in real life, per an angry letter home from Mozart.[[/note]] He also pats Mozart (with a gloved hand) on the cheek.
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Changed line(s) 2 (click to see context) from:
** Mozart says, "I can taste death on my tongue." [[spoiler: on his deathbed.]] Throughout the show, Mozart refers to himself as a prince. It's accidentally funny because Levay and Kunze's prior collaboration is Theatre/{{Elisabeth}} in which a Prince (Rudolf) has quite a lot of HoYay and HomoeroticSubtext with Death himself. Which includes a [[spoiler: fatal kiss.]] Many a Rudolf went on to play Mozart (not Oedo Kuipers from the DVD, but Thomas Hohler, Gernot Romic, etc., and at least two Deaths went on to play Colloredo (Uwe Kröger and Mark Seibert).
to:
** Mozart says, "I can taste death on my tongue." [[spoiler: on his deathbed.]] Throughout the show, Mozart refers to himself as a prince. It's accidentally funny because Levay and Kunze's prior collaboration is Theatre/{{Elisabeth}} in which a Prince (Rudolf) has quite a lot of HoYay and HomoeroticSubtext with Death himself. Which includes a [[spoiler: fatal kiss.]] Many a Rudolf went on to play Mozart (not Oedo Kuipers from the DVD, but Thomas Hohler, Gernot Romic, etc., and at least two Deaths went on to play Colloredo (Uwe Kröger and Mark Seibert). Plus, little Rudolf and Amadé share some actors (e.g. Aeneas Hollweg).
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Changed line(s) 13 (click to see context) from:
** Mark Seibert, following his tendency to milk the HoYay and HomoeroticSubtext for all it's worth (examples include ''Theatre/RomeoEtJulietteDeLaHaineALamour'' and ''Theatre/{{Elisabeth}}''), delivers. He plays Colloredo reacting to Mozart's quitting like he's taking it as a personal affront, snarling the lines. While [[ShirtlessScene shirtless.]] Oedo Kuipers stalks right up to Seibert's face, close enough to kiss, and tells the Prince to "kiss [his] ass". [[note]]Colloredo complies by having his [[TheDragon Dragon]] Arco kick Mozart out. Literally, with a kick on his ass.[[/note]] He also pats Mozart (with a gloved hand) on the cheek.
to:
** Mark Seibert, following his tendency to milk the HoYay and HomoeroticSubtext for all it's worth (examples include ''Theatre/RomeoEtJulietteDeLaHaineALamour'' and ''Theatre/{{Elisabeth}}''), delivers. He plays Colloredo reacting to Mozart's quitting like he's taking it as a personal affront, snarling the lines. While [[ShirtlessScene shirtless.]] Oedo Kuipers stalks right up to Seibert's face, close enough to kiss, and tells the Prince to "kiss [his] ass". [[note]]Colloredo complies by having his [[TheDragon Dragon]] Arco kick Mozart out. Literally, with a kick on his ass.[[/note]] He also pats Mozart (with a gloved hand) on the cheek.cheek.
----
----
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Changed line(s) 10 (click to see context) from:
--> '''Colloredo:''' Go to Vienna and bring ''my'' Mozart back.
to:
--> '''Colloredo:''' Go to Vienna and bring ''my'' Mozart back. [[note]]Emphasis included in the show. Mark Seibert pauses significantly between "bring" and "my".[[/note]]
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** The same joke involving PopCultureOsmosis is cracked in both shows. In ''Mozart'', no one outwardly reacts to Schikaneder's announcement that he's coming to town to play a show except Mozart, because they don't know who he is. In Theatre/{{Schikaneder}}, when trying to stop the theatre from being shut down, Emanuel pleaded with the inspector that "Is it possible that the world will never hear the greatest work yet completed by Wolfgang Amadé Mozart?" only to get a {{Beat}} and an "I have no idea who that is."
Changed line(s) 12 (click to see context) from:
** Mark Seibert, following his tendency to milk the HoYay and HomoeroticSubtext for all it's worth (examples include ''Theatre/RomeoEtJulietteDeLaHaineALamour'' and ''Theatre/{{Elisabeth}}''), delivers. He plays Colloredo reacting to Mozart's quitting like he's taking it as a personal affront, snarling the lines. While [[ShirtlessScene shirtless.]] Oedo Kuipers stalks right up to Seibert's face, close enough to kiss, and tells the Prince to "kiss [his] ass". [[note]]Colloredo complies by having his [[TheDragon Dragon]] Arco kick Mozart out. Literally, with a kick on his ass.[[/note]] He also pats Mozart (with a gloved hand) on the cheek while telling him going back to the Prince’s service is what [[WellDoneSonGuy his father would have wanted.]]
to:
** Mark Seibert, following his tendency to milk the HoYay and HomoeroticSubtext for all it's worth (examples include ''Theatre/RomeoEtJulietteDeLaHaineALamour'' and ''Theatre/{{Elisabeth}}''), delivers. He plays Colloredo reacting to Mozart's quitting like he's taking it as a personal affront, snarling the lines. While [[ShirtlessScene shirtless.]] Oedo Kuipers stalks right up to Seibert's face, close enough to kiss, and tells the Prince to "kiss [his] ass". [[note]]Colloredo complies by having his [[TheDragon Dragon]] Arco kick Mozart out. Literally, with a kick on his ass.[[/note]] He also pats Mozart (with a gloved hand) on the cheek while telling him going back to the Prince’s service is what [[WellDoneSonGuy his father would have wanted.]]cheek.
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Changed line(s) 8 (click to see context) from:
** After a fed-up Mozart quits, Colloredo uses his influence to stop other nobles from granting him a job in order to force Wolfgang to crawl back to him.
to:
** After a fed-up Mozart quits, Colloredo uses his influence to stop other nobles from granting him a job in order to force Wolfgang to crawl back to him. him, and orders Leopold to retrieve him from Vienna.
--> '''Colloredo:''' Go to Vienna and bring ''my'' Mozart back.
--> '''Leopold:''' I created one genius. I can do it again anytime.
--> '''Colloredo:''' Enough! I want the real Mozart. Arco!
--> '''Colloredo:''' Go to Vienna and bring ''my'' Mozart back.
--> '''Leopold:''' I created one genius. I can do it again anytime.
--> '''Colloredo:''' Enough! I want the real Mozart. Arco!
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Changed line(s) 1 (click to see context) from:
* HilariousInHindsight: Mozart says, "I can taste death on my tongue." [[spoiler: on his deathbed.]] Throughout the show, Mozart refers to himself as a prince. It's accidentally funny because Levay and Kunze's prior collaboration is Theatre/{{Elisabeth}} in which a Prince (Rudolf) has quite a lot of HoYay and HomoeroticSubtext with Death himself. Which includes a [[spoiler: fatal kiss.]] Many a Rudolf went on to play Mozart (not Oedo Kuipers from the DVD, but Thomas Hohler, Gernot Romic, etc., and at least two Deaths went on to play Colloredo (Uwe Kröger and Mark Seibert).
to:
* HilariousInHindsight: HilariousInHindsight:
** Mozart says, "I can taste death on my tongue." [[spoiler: on his deathbed.]] Throughout the show, Mozart refers to himself as a prince. It's accidentally funny because Levay and Kunze's prior collaboration is Theatre/{{Elisabeth}} in which a Prince (Rudolf) has quite a lot of HoYay and HomoeroticSubtext with Death himself. Which includes a [[spoiler: fatal kiss.]] Many a Rudolf went on to play Mozart (not Oedo Kuipers from the DVD, but Thomas Hohler, Gernot Romic, etc., and at least two Deaths went on to play Colloredo (Uwe Kröger and Mark Seibert).
** As mentioned in HoYay: During ''Der einfache Weg'', Colloredo pats Mozart’s cheek. Apparently, Mark Seibert does it to all of his Mozarts except Florian Peters. Peters proceeded to play Seibert’s romantic rival in Theatre/{{Schikaneder}}.
** Speaking of Schikaneder, Martin Pasching, who plays Emanuel Schikaneder on the ''Mozart!'' DVD, wound up playing Schikaneder’s best friend Benedikt Schack in the latter show. Franziska Schuster (Constanze) landed the role of Barbara Gerl, Eleonore Schikaneder (Emanuel’s wife)’s best friend.
** Mozart says, "I can taste death on my tongue." [[spoiler: on his deathbed.]] Throughout the show, Mozart refers to himself as a prince. It's accidentally funny because Levay and Kunze's prior collaboration is Theatre/{{Elisabeth}} in which a Prince (Rudolf) has quite a lot of HoYay and HomoeroticSubtext with Death himself. Which includes a [[spoiler: fatal kiss.]] Many a Rudolf went on to play Mozart (not Oedo Kuipers from the DVD, but Thomas Hohler, Gernot Romic, etc., and at least two Deaths went on to play Colloredo (Uwe Kröger and Mark Seibert).
** As mentioned in HoYay: During ''Der einfache Weg'', Colloredo pats Mozart’s cheek. Apparently, Mark Seibert does it to all of his Mozarts except Florian Peters. Peters proceeded to play Seibert’s romantic rival in Theatre/{{Schikaneder}}.
** Speaking of Schikaneder, Martin Pasching, who plays Emanuel Schikaneder on the ''Mozart!'' DVD, wound up playing Schikaneder’s best friend Benedikt Schack in the latter show. Franziska Schuster (Constanze) landed the role of Barbara Gerl, Eleonore Schikaneder (Emanuel’s wife)’s best friend.
Changed line(s) 6 (click to see context) from:
** Mark Seibert, following his tendency to milk the HoYay and HomoeroticSubtext for all it's worth (examples include ''Theatre/RomeoEtJulietteDeLaHaineALamour'' and ''Theatre/{{Elisabeth}}''), delivers. He plays Colloredo reacting to Mozart's quitting like he's taking it as a personal affront, snarling the lines. While [[ShirtlessScene shirtless.]] Oedo Kuipers stalks right up to Seibert's face, close enough to kiss, and tells the Prince to "kiss [his] ass". [[note]]Colloredo complies by having his [[TheDragon Dragon]] Arco kick Mozart out. Literally, with a kick on his ass.[[/note]]
to:
** Mark Seibert, following his tendency to milk the HoYay and HomoeroticSubtext for all it's worth (examples include ''Theatre/RomeoEtJulietteDeLaHaineALamour'' and ''Theatre/{{Elisabeth}}''), delivers. He plays Colloredo reacting to Mozart's quitting like he's taking it as a personal affront, snarling the lines. While [[ShirtlessScene shirtless.]] Oedo Kuipers stalks right up to Seibert's face, close enough to kiss, and tells the Prince to "kiss [his] ass". [[note]]Colloredo complies by having his [[TheDragon Dragon]] Arco kick Mozart out. Literally, with a kick on his ass.[[/note]][[/note]] He also pats Mozart (with a gloved hand) on the cheek while telling him going back to the Prince’s service is what [[WellDoneSonGuy his father would have wanted.]]
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Added line(s) 4 (click to see context) :
* HilariousInHindsight: Mozart says, "I can taste death on my tongue." [[spoiler: on his deathbed.]] Throughout the show, Mozart refers to himself as a prince. It's accidentally funny because Levay and Kunze's prior collaboration is Theatre/{{Elisabeth}} in which a Prince (Rudolf) has quite a lot of HoYay and HomoeroticSubtext with Death himself. Which includes a [[spoiler: fatal kiss.]] Many a Rudolf went on to play Mozart (not Oedo Kuipers from the DVD, but Thomas Hohler, Gernot Romic, etc., and at least two Deaths went on to play Colloredo (Uwe Kröger and Mark Seibert).
Changed line(s) 4 (click to see context) from:
** After a fed-up Mozart quits, Colloredo uses his influence to stop other nobles from granting him a job in order to force Wolfgang to craw back to him.
to:
** After a fed-up Mozart quits, Colloredo uses his influence to stop other nobles from granting him a job in order to force Wolfgang to craw crawl back to him.
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Added DiffLines:
--> '''Mozart:''' You stole my time, you stole my money! Locked me up in your world!
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Changed line(s) 4 (click to see context) from:
** Mark Seibert, following his tendency to milk the HoYay and HomoeroticSubtext for all it's worth (examples include ''Theatre/RomeoEtJulietteDeLaHaineALamour'' and ''Theatre/{{Elisabeth}}''), delivers. He plays Colloredo reacting to Mozart's quitting like he's taking it as a personal affront, snarling the lines. While [[ShirtlessScene shirtless.]] Oedo Kuipers stalks right up to Seibert's face, close enough to kiss, and tells the Prince to "kiss [his] ass". [[note]]Colloredo complies by having his RightHandMan Arco kick Mozart out. Literally, with a kick on his ass.[[/note]]
to:
** Mark Seibert, following his tendency to milk the HoYay and HomoeroticSubtext for all it's worth (examples include ''Theatre/RomeoEtJulietteDeLaHaineALamour'' and ''Theatre/{{Elisabeth}}''), delivers. He plays Colloredo reacting to Mozart's quitting like he's taking it as a personal affront, snarling the lines. While [[ShirtlessScene shirtless.]] Oedo Kuipers stalks right up to Seibert's face, close enough to kiss, and tells the Prince to "kiss [his] ass". [[note]]Colloredo complies by having his RightHandMan [[TheDragon Dragon]] Arco kick Mozart out. Literally, with a kick on his ass.[[/note]]
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Added DiffLines:
* HoYay: Mozart and Colloredo's relationship plays out a lot like the Prince is an abusive, controlling ex that the composer escapes from. ''Ich bleibe in Wien'' and ''Der einfache Weg'' sounds like break-up songs.
** Colloredo attempts to restrict Mozart's movements in Vienna, and his lines in ''Wien wird mich um ihn beneiden'' borders on seeing Wolfgang as a possession or a pet to show off to Viennese society.
** After a fed-up Mozart quits, Colloredo uses his influence to stop other nobles from granting him a job in order to force Wolfgang to craw back to him.
** Mark Seibert, following his tendency to milk the HoYay and HomoeroticSubtext for all it's worth (examples include ''Theatre/RomeoEtJulietteDeLaHaineALamour'' and ''Theatre/{{Elisabeth}}''), delivers. He plays Colloredo reacting to Mozart's quitting like he's taking it as a personal affront, snarling the lines. While [[ShirtlessScene shirtless.]] Oedo Kuipers stalks right up to Seibert's face, close enough to kiss, and tells the Prince to "kiss [his] ass". [[note]]Colloredo complies by having his RightHandMan Arco kick Mozart out. Literally, with a kick on his ass.[[/note]]
** Colloredo attempts to restrict Mozart's movements in Vienna, and his lines in ''Wien wird mich um ihn beneiden'' borders on seeing Wolfgang as a possession or a pet to show off to Viennese society.
** After a fed-up Mozart quits, Colloredo uses his influence to stop other nobles from granting him a job in order to force Wolfgang to craw back to him.
** Mark Seibert, following his tendency to milk the HoYay and HomoeroticSubtext for all it's worth (examples include ''Theatre/RomeoEtJulietteDeLaHaineALamour'' and ''Theatre/{{Elisabeth}}''), delivers. He plays Colloredo reacting to Mozart's quitting like he's taking it as a personal affront, snarling the lines. While [[ShirtlessScene shirtless.]] Oedo Kuipers stalks right up to Seibert's face, close enough to kiss, and tells the Prince to "kiss [his] ass". [[note]]Colloredo complies by having his RightHandMan Arco kick Mozart out. Literally, with a kick on his ass.[[/note]]
