I had the pleasure of attending the press night of Saving Mozart on 5th August at The Other Palace — and from the moment I walked into the auditorium, I had a feeling we were in for something special.

A pre-show bathed in atmosphere and a gorgeously stylised set welcomed us in: a striking giant “M” with a mirror centrepiece dominated the space, setting the tone for a night that would blend classical inspiration with modern storytelling.

The opening number? What a way to start. It was energetic, engaging, and immediately pulled us into this world. Sitting there, I found myself struck by how refreshing it is to witness something new — an original story with untold characters, lovingly crafted and confidently staged.

And what a cast. Aimie Atkinson, as Nannerl Mozart, delivered a stellar performance. This is a role made for her — emotionally rich, nuanced, and vocally stunning. She was captivating from start to finish and, without question, the standout of the show.

Jack Chambers brought depth and complexity to the role of Wolfgang Mozart. His outstanding vocals and character journey grounded the show’s narrative, leading the audience to feel trusted and at ease whenever he was on stage. He felt like our guide through the chaos of his world — a consistent, heartfelt presence.

Erin Caldwell made a later entrance in act one, but truly owned act two. Her vocals were nothing short of breathtaking, and her ability to convey deep emotional truth through music was genuinely moving.

Jordan Luke Gage as Antonio Salieri had one of the night’s most striking moments — delivering a powerhouse number while standing atop the illuminated “M” centre stage. His voice was, as always, phenomenal, and his use of the set was commanding. If anything, I just wanted more of him.

Izzie Monk as “Little Mozart/ Karl Mozart” is a remarkably maturity actor despite her age. Her dual role performance was exceptional and her ability to hold a strong vocal performance, along with chemistry with other actors on stage, was beautiful to watch.

Douglas Hansell (Leopold Mozart) brought immense emotional depth, while Gloria Onitiri balanced comedy and heart beautifully in her dual roles, offering warmth, wit, and rich vocals.

The ensemble work was another real highlight. Rarely off stage, they functioned as a fluid extension of the story — moving props and building the world around them. The choreography was a blend of emotionally charged pedestrian movements mixed with larger dance numbers, however always felt like it steamed from a place of truth. All the movement was rhythmically woven into the score in a way that felt both fresh and considered.

The direction was sharp and atmospheric, using space and set with real precision. The lighting design — especially the two large rigged lights that illuminated both stage and audience — enhanced the show’s mood and created moments to look down on the stage while the story was unfolding.

There’s no denying that Saving Mozart shares a few musical theatre similarities with Hamilton — modern music juxtaposed by a historical narrative. Despite the similarities, this piece has its own unique voice. The pop and contemporary sounding score brought a whole new energy and works beautifully.

That said, the show isn’t without its imperfections. There were moments where the stakes within the script weren’t quite high enough to justify the transition into song, and the narrative could benefit from some script development. But with a little work and refinement, I truly believe Saving Mozart could become something exceptional.

In all, this is a beautiful, bold piece of new theatre — rich in storytelling, bursting with talent, and brimming with potential. The stellar cast only enhanced this. It’s original. It’s emotional. It’s unexpected. And I can’t wait to see where it goes next.

⭐️⭐️⭐️⭐