YMMV / Mozart!

• Diagnosed by the Audience: Kuipers' Mozart displays many of the traits associated with people on the autism spectrum.^note The idea as to whether or not the composer was on the spectrum has been the subject of debate.
  • He's very blunt - he says what he means, and he means what he says, refusing to kowtow to anyone. He even sasses the Emperor, who luckily take it in stride.
  • He has No Social Skills. Leopold even says outright that he is "too childish for the cold and cunning game of life".
  • His spending habits show a lack of foresight. Examples include his sending money to Mannheim for the Webers while his mother is starving, and his gambling away the money he intended to send his sister for her marriage.
  • He's rocking back and forth in a fetal position (hard to spot because he's sitting on a piano stool) during Niemand liebt dich so wie ich (Reprise).
  • During Papa ist tot, at news of a tragic event, he puts his thumb in his mouth as Constanze is trying to comfort him and Nannerl is saying she would never forgive him.
  • Music is his special interest, which has many repetitive movements (especially piano playing), suitable for self-stimulation/stimming.
• Heartwarming Moments: In 2006, Tomoyo Kurosawa (age 9) was Amadè to Akinori Nakagawa's Mozart. Since then, she has become quite famous as a voice actor. In 2022 at the Japan Winter Musical Fest concert, she and Nakagawa reunited and sang "Boku koso Music" ("Ich bin Music") together as a duet.
• Hilarious in Hindsight:
  • Mozart says, "I can taste death on my tongue." on his deathbed. Throughout the show, Mozart refers to himself as a prince. Levay and Kunze's prior collaboration is Elisabeth, in which a Prince (Rudolf) has quite a lot of Ho Yay and Homoerotic Subtext with Death himself. Which includes a fatal kiss. Many a Rudolf went on to play Mozart (not Oedo Kuipers from the DVD, but Thomas Hohler, Gernot Romic, etc., and at least two Deaths went on to play Colloredo (Uwe Kröger and Mark Seibert). Plus, Ilia Hollweg played Amadè, while her brothers Timotheus and Aeneas alternated the role of little Rudolf.
  • As mentioned in Ho Yay: During Der einfache Weg, Colloredo pats Mozart’s cheek. Apparently, Mark Seibert does it to all of his Mozarts except Florian Peters. Peters proceeded to play Seibert’s romantic rival in Schikaneder.
  • Speaking of Schikaneder, Martin Pasching, who plays Emanuel Schikaneder on the Mozart! DVD, wound up playing Schikaneder’s best friend Benedikt Schack in the latter show. Franziska Schuster (Constanze) landed the role of Barbara Gerl, Eleonore Schikaneder (Emanuel’s wife)’s best friend.
  • The same joke involving Pop Culture Osmosis is cracked in both shows. In Mozart, no one outwardly reacts to Schikaneder's announcement that he's coming to town to play a show except Mozart, because they don't know who he is. In Schikaneder, when trying to stop the theatre from being shut down, Emanuel pleaded with the inspector that "Is it possible that the world will never hear the greatest work yet completed by Wolfgang Amadè Mozart?" only to get a Beat and an "I have no idea who that is."
• Ho Yay: Mozart and Colloredo's relationship plays out a lot like the Prince is an abusive, controlling ex that the composer escapes from. Ich bleibe in Wien and Der einfache Weg sounds like break-up songs.
  • Colloredo attempts to restrict Mozart's movements in Vienna, and his lines in Wien wird mich um ihn beneiden borders on seeing Wolfgang as a possession or a pet to show off to Viennese society.
    Mozart: You stole my time, you stole my money! Locked me up in your world!
  • After a fed-up Mozart quits, Colloredo uses his influence to stop other nobles from granting him a job in order to force Wolfgang to crawl back to him, and orders Leopold to retrieve him from Vienna.
    Colloredo: Go to Vienna and bring my Mozart back. ^note Emphasis included in the show. Mark Seibert pauses significantly between "my" and "Mozart". Granted, he was probably making a distinction between Wolfgang and Leopold junior, but that has not stopped the shippers.
    Leopold: I created one genius. I can do it again any time.
    Colloredo: Enough! I want the real Mozart. Arco!
  • Mark Seibert, following his tendency to milk the Ho Yay and Homoerotic Subtext for all it's worth (examples include Romeo et Juliette: De La Haine a l'Amour and Elisabeth), delivers. He plays Colloredo reacting to Mozart's quitting in "Ich bleibe in Wien" like he's taking it as a personal affront, snarling the lines. While shirtless. During a later scene, "Der einfache Weg", he also pats Mozart (with a gloved hand) on the cheek.
  • Oedo Kuipers stalks right up to Seibert's face, close enough to kiss, and tells the Prince to "kiss [his] ass". ^note Colloredo complies by having his Dragon Arco kick Mozart out. Literally, with a kick on his ass. Which happened in real life, per an angry letter home from Mozart.
• Narm: The blatant anachronisms (an RV in eighteenth century Austria, the costumes of Mozart and the Webers...) are impossible to take seriously unless the audience enjoys Narm Charm.

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