THE OTHER MOZART is an award-winning play telling the true, forgotten story of Nannerl Mozart, the sister of Amadeus – a prodigy, keyboard virtuoso and composer, who performed throughout Europe with her brother to equal acclaim, but her work and her story faded away, lost to history.

‘’Strikingly beautiful’’ – New York Times
”A gem of a show.” – The Stage (LONDON)
‘’This show is the height of theatrical achievement’’ -Theatre is Easy

DRAMA DESK, Off-Broadway Alliance and 8 New York Innovative Theater Awards nominations – winner of 2 New York Innovative Theatre Awards: Outstanding Solo Performance (Sylvia Milo) and Outstanding Original Music (Nathan Davis and Phyllis Chen)

September 23 – November 13

Players Theatre
115 MacDougal Street, 3rd floor theatre (no elevator)
NYC

Performed (in rotation) by Sylvia Milo (the play’s creator), Samantha Hoefer, Daniela Galli or Jody Christopherson.

Full schedule and tickets: www.theOtherMozart.com

Created by Sylvia Milo, the monodrama is set in a stunning 18-foot dress (designed by Magdalena Dąbrowska from the National Theater of Poland). Directed by Isaac James Byrne, THE OTHER MOZART is based on facts, stories and lines pulled directly from the Mozart family’s humorous and heartbreaking letters.

Along with music composed by her famous brother and Marianna Martines (a female composer who inspired Nannerl), original music was written for the play by Nathan Davis and Phyllis Chen (of Lincoln Center’s Mostly Mozart Festival, the International Contemporary Ensemble and BAM) for the instruments Nannerl knew intimately, such as clavichords,
music boxes, and bells, as well as teacups, fans, and other ordinary objects that might have captured her imagination.

Period style movement directed by Janice Orlandi creates a world of opulence and elegance through articulate delicacy of expressive balletic gestures, reverent court bows, and fan language.

“One of the most remarkable theatrical presentations … an exalted plane of expression and elegance… sophisticated and well-judged score… sureness of the direction… The ghostly fluidity of the language… most brilliant and absorbing.” — New York Arts

www.theOtherMozart.com