Review: SAVING MOZART, The Other Palace

Photo credit: Danny Kaan

In an age when musicals often rely on the familiarity of revivals or film adaptations, Saving Mozart dares to tell a new story. Staged at The Other Palace, this bold new musical reframes the life of the iconic composer through the lens of those around him: the women who shaped him, the rival who challenged him, and the legacy he left behind. With music, lyrics, and book by Charli Eglinton, it blends a contemporary pop score with classical flourishes drawn directly from Mozart’s own compositions, resulting in a musical language that feels bold and genre-blending without losing its roots.

Even before the lights go down, the ensemble are on stage, moving in slow motion. It is an immersive choice that immediately sets the tone. The silence is broken by Jack Chambers as Mozart, who arrives with brash energy and charisma, breaking the fourth wall and establishing a connection with the audience from the outset. His performance is consistently engaging, with strong projection and emotional commitment. Though some of the higher numbers sit a little outside his sweet spot vocally, he finds stronger footing in Act 2.

Aimie Atkinson delivers a magnetic performance as Nannerl, Mozart’s sister and musical equal. Her outstanding vocals are powerful and emotionally expressive; she brings inner fire and nuance to every scene she is in. Her journey is mirrored visually in her costume transformation, beginning in a sharp modern pantsuit and corset and shifting into a more traditional blouse and long skirt. It is a clever, subtle metaphor for a woman conforming to the expectations she once resisted.

Erin Caldwell as Constanze joins in the second act and quickly asserts herself as the emotional heart of the story. Her voice is rich and commanding, and her duet with Atkinson, ‘This Won’t Break Me’, told from two perspectives, is a spine-tingling highlight and a masterclass in vocal control and emotional clarity. The number evokes the emotional layering of ‘In His Eyes’ from Jekyll and Hyde, but with a contemporary sharpness that makes it feel entirely new. Constanze’s love story with Mozart is believable and compelling, and as Nannerl fades from his life, she becomes his new muse, driving him forward with unwavering belief.

Izzie Monk plays Little Mozart with great stage presence and vocal clarity, anchoring the early scenes with charm. Gloria Onitiri shines in her Act 1 solo ‘He’s Only a Child’ with emotive delivery and vocal warmth. Her transformation into the bold and comedic Cecilia in Act 2 is a complete shift in tone and energy - a joyful highlight. Douglas Hansell gives a strong dramatic performance as Leopold, though vocally he occasionally struggles, particularly in falsetto-led numbers when pitch becomes a problem.

Jordan Luke Gage plays Salieri, the ambitious rival and complication in Mozart’s path. Vocally, he is outstanding. ‘Know Your Place’ is one of the most thrilling moments of the evening, performed with precision, presence and a rock-like flair. Styled in an open shirt and eyeliner for days, the role could have easily leaned into camp, but Gage grounds it with edge and authority. However, despite his compelling stage presence, it feels slightly unnecessary for the character to have two solo numbers that largely communicate the same sentiment in different words.

The ensemble is tightly woven into the production, particularly during ‘Stand Up, Stand Down’, choreographed by Taylor Walker, when stylised movement with scattered chairs creates a dynamic, textured stage picture. The ensemble guides Mozart and Constanze through the scene, their bodies and props forming the physical and emotional architecture of the moment. It is visually striking, further heightened by the use of red in lighting and costuming as Mozart receives his symbolic red coat. This is a clever creative choice that ties movement, colour and character into one unified moment.

Justin Williams’ set design is minimal but clever, using a piano, chairs and movable panels to full effect. The large illuminated “M” centre-stage feels a little out of step with the otherwise period-inspired design, though its function as a frame and platform works visually. Julia Pschedzki’s costume design blends historical elements like ruffled collars, corsets and sleeves with modern touches such as leather boots, blazers and tutu skirts, mirroring the show's musical and thematic hybrid.

The musical direction cleverly fuses a contemporary pop sound with motifs from Mozart’s own compositions, particularly through the piano. Not all the songs are equally memorable, but several stand out. ‘Know Your Place’, ‘He’s Only a Child’, ‘This Won’t Break Me’ and the finale ‘The World Will As Well’ all land with real impact. The final number clearly nods to Hamilton in its all-cast staging, layered movement and direction, but still retains a voice of its own. These choices, under the direction of Markus Olzinger, help the production close on a visually and emotionally resonant note.

The book, music and lyrics are all by Charli Eglinton, and while the concept is bold, the book feels somewhat underdeveloped. Shifting the focus to the women in Mozart’s life is a refreshing and valuable choice, but it comes at the cost of fully exploring his own creative journey. Act 1 is crammed with plot which, at times, makes it hard to follow, while Act 2 feels as though it’s missing key information that the audience would naturally expect, such as how the ‘Requiem’ came to be or what followed The Magic Flute. The result is a story that feels emotionally compelling but historically incomplete.

Saving Mozart is a fresh and emotionally intelligent new musical with bold ideas and moments of brilliance. There is strong potential here, especially in its original score, standout vocal performances and inventive visual direction. However, its narrative structure, occasional casting inconsistencies and lack of clarity around Mozart’s later legacy hold it back from fully landing. Still, in a theatre landscape saturated with recycled revivals and jukebox scores, a show that dares to explore new territory, even while drawing inspiration from the past, is not just refreshing but necessary. It is not one to miss.

*** Three stars

Reviewed by: Laura Harris

Saving Mozart plays at London’s The Other Palace until 30 August, with tickets available here.