Black Doves boss and TV genius Joe Barton hits all the right notes with sharp new Amadeus series

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Amadeus spoilers will be kept to a minimum in this review.

True greatness feels almost supernatural, but it’s incredibly difficult to achieve. Consider Antonio Salieri, an 18th-century composer who spent his life trying to ruin the career of his competitor, Wolfgang Amadeus Mozart – the incredibly talented composer whose music seemed to capture something divine.

The pursuit of truly great television remains a challenge, but screenwriter Joe Barton consistently delivers. His previous shows – including Giri/Haji, The Lazarus Project, Black Doves, and The Bastard Son & The Devil Himself – are all exceptional, marked by his clever writing and skillful handling of familiar genre elements.

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Barton seems to effortlessly blend elements of espionage, time travel, and the supernatural into his perspective. However, Sky’s new series, Amadeus – based on Peter Shaffer’s 1979 play and famously adapted into Miloš Forman’s award-winning film – might present a new challenge for him.

Comparing this new adaptation to previous versions immediately creates high expectations, particularly with a story as intricate and layered as this one. However, Barton is well-equipped to make it his own, building on his proven ability to succeed in diverse types of stories.

The five-episode series opens with a dramatic scene: Mozart falling from a second-story window in Vienna and landing in the snow. The opening credits feature beautiful watercolor images that hint at both music and the human body, setting the tone for the show’s rich visuals. We then travel back to 1781 to meet Mozart as a young man.

The film opens with a title card telling us we’re seeing Mozart ten years before his death, but that thought is quickly interrupted when he unexpectedly throws up in the street. He immediately apologizes to those nearby, then brightly exclaims, “Good day!”

Mozart is incredibly charismatic and aware of his appeal, indulging in life’s pleasures while possessing a musical talent others, like Salieri, deeply envied. Though he appears lighthearted, as Salieri bitterly calls him, Mozart seems strangely at ease with disorder, constantly indulging in drink and pursuing pleasure to an almost unsettling extent.

Mozart is haunted by inner voices – the painful memories of his father and grief over his mother. Combined with the overwhelming inspiration that fuels his music, it’s perhaps not surprising he appears calm even when surrounded by noise and commotion. He finds a strange solace in the chaos, a hope that the external world can somehow quiet the turmoil within.

Will Sharpe’s work as Mozart is often brilliant, much like the composer’s music itself. After impressive roles in shows like The White Lotus and Giri/Haji, Sharpe has created his most significant work yet, capturing the complicated inner life of a historical figure who remains largely mysterious.

Sharpe recently explained to The Radio Times that because there’s no video of the actual person, he focused on the man’s music to understand him. He found the music reflected a complex personality – sometimes dramatic and intense, and other times gentle and lighthearted.

The show has a lot going on, but the lead actor, Sharpe, handles it all brilliantly. Any problems with this version aren’t his fault, or the fault of anyone else in the cast. Paul Bettany is fantastic as Antonio Salieri, Mozart’s jealous rival, portraying a character who becomes increasingly consumed by darkness. It’s his most enjoyable performance since WandaVision.

While Tom Sharpe delivers a strong performance, Gabrielle Creevy truly shines as Constanze Mozart, Mozart’s patient wife. After gaining recognition for her BAFTA-winning role in In My Skin, and impressing in Black Doves, Creevy once again proves her talent with this portrayal.

Period dramas often treat wives as secondary characters, mirroring how they’re treated within the stories themselves. But in this case, Creevy’s portrayal of Constanze is different – she’s a vibrant and compelling presence. Whether she’s navigating motherhood, embracing her sexuality, or even confronting her husband, Constanze confidently takes center stage and deserves our attention. This is particularly impressive considering how well Sharpe plays her flawed husband.

Okay, so I just finished watching Amadeus, and honestly, while everyone talks about the rivalry between Amadeus and Salieri, the scenes that really got to me were between Sharpe and Creevy. They clearly loathe each other, but it’s this deeply ingrained, almost comfortable hatred, and it’s fascinating to watch. It’s not just anger though, there’s a real sadness to it all, and it just sticks with you, even in the most beautifully shot or scored moments. It’s a painful dynamic, but a really compelling one.

The story itself is good, but the way it’s presented isn’t. Starting and ending the film with older versions of the characters Salieri and Constanze doesn’t work well, and it’s noticeable—not just because of the unconvincing aging makeup.

These scenes aren’t particularly suspenseful, but they do offer a new perspective on how people saw Mozart. The story ultimately delivers a clever surprise, showcasing Barton’s creativity even when working with such a well-known subject.

Honestly, while I loved the beginning and ending of this season, I sometimes wished there was a bit more breathing room in the middle. They crammed so much story into just five episodes that some really important scenes just didn’t hit as hard as they could have. It felt rushed, you know?

The power of Amadeus doesn’t lie in grand events, but in the small, cutting remarks and the feelings of shame, envy, and spite that bubble up in the characters’ conversations. The script is beautifully written, and the talented cast perfectly captures these intense, hurtful exchanges.

The show isn’t flawless, and it doesn’t quite reach the incredibly high standard set by its predecessor. However, Barton deserves credit for taking risks and trying something new instead of simply recreating the original. The result is a compelling and occasionally brilliant show that, while excellent, doesn’t quite achieve the legendary status of the original Mozart himself.

Amadeus will be available to watch on Sky from December 21.

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2025-12-21 10:21