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The Other Mozart

 
Rebecca Vines Review by Rebecca Vines 5 Published: 3 Aug 2025 Assembly George Square Studios Show Dates: 30 Jul 2025-25 Aug 2025

The Other Mozart tells the true, forgotten story of Maria Anna (Nannerl) Mozart, the genius sister of Amadeus, who performed throughout Europe alongside him to equal acclaim before her story was lost to the obscurity thought to be more fitting for females of the period.

A woman once reduced to the shadows is finally granted her own time in the spotlight

It is unlikely that you will see a more beautiful set design this Fringe – alone in the black box space, the skirts of a lavish white gown are spread in a giant circle of lace and froth. Among the folds and pockets, tucked away from the prying eyes who would not understand, lie key memories of Nannerl’s life… music, souvenirs from her European travels, books, and letter after letter regarding the mischievous little brother who took a continent by storm in the late eighteenth century. This is a treat for lighting designer Joshua Rose, who is able to use a full range of colour palettes against the neutrality of this canvas to illuminate each of the contrasting chapters in Nannerl’s life.

The gown itself (immaculately realised by Magdalena Dabrowska and Miodrag Guberinic) seems to represent the maturity and acceptance of adulthood, which the young Nannerl dances around and through and over, before finally accepting that she will never inhabit the fantasy world her brother has been gifted. Thus, for much of the piece, Nannerl prances about the stage in her corset and pantaloons – free-spirited, dynamic, hopeful; before admitting that she must put away childish things and climb into the fierce-looking farthingale contraption ominously waiting to enclose her in its iron embrace.

Those familiar with the story of the scatological musical genius whose intemperate mouth belied the beauty of his compositions will have much to engage with here. But there is no need to have an exhaustive knowledge of the backstory. The piece is so carefully constructed that we are treated to a substantive amount of information, which never dips into lecture territory but is always delivered with a delicious verve that somehow makes Nannerl’s relegation to a mere footnote in history all the sadder.

Sylvia Milo (alternating with Daniela Galli) created, wrote, and stars as Nannerl, giving a towering performance that never tips into self-indulgence but gently and generously evokes a funny, knowing, clever, loving, and divinely talented woman who was denied her due in life. Much of the success of the execution lies in the way the creative team have used minimal methods to construct maximum effect – the control and economy deployed by director Isaac Byrne and his team demonstrating the tightness of grip and completeness of understanding at the heart of the process.

The script is based on the well-documented facts about Mozart’s colourful life and on the hilarious and heartbreaking letters the family penned to one another during their times apart. It is a delightful piece in which a woman once reduced to the shadows is finally granted her own time in the spotlight.

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The Blurb:

The forgotten story of Amadeus’ genius sister, who performed alongside him to equal acclaim. Set in a stunning 18-foot dress, this multi award-winning production ushers you into a world of opulence and delight – obscured by restriction and prejudice. Inspired by the Mozart family’s hilarious and heartbreaking letters, Nannerl Mozart finally tells her story. Nathan Davis and Phyllis Chen (Lincoln Center’s Mostly Mozart Festival) bring Nannerl’s musical imagination to life with an award-winning original music using clavichords, music boxes, teacups and fluttering fans. Performed, in rotation, by Sylvia Milo and Daniela Galli. ‘Strikingly beautiful’ (New York Times).