The amplified sound (masterminded by Tony David Cray) is sensational, and the scale of the show, with about 40 actors, musicians and singers, plus Michael Scott-Mitchell’s deep-perspective set, certainly creates a space-filling spectacle.

This is further amplified by the wow-factor costumes of Anna Cordingley and Romance Was Born, which bubble and froth like garish, fizzing cocktails, or like 18th-century dress seen through a hallucinogenic kaleidoscope.

The characters of Salieri, Mozart and Constanze should, however, be in an odd sort of balance: a scalene triangle, if you like, with Salieri the longest side.

But Rahel Romahn (Mozart) and Lily Balatincz (Constanze) simply can’t match Sheen’s firepower or conviction, and so the tension and energy drop when Sheen is absent from a scene. It’s not that Romahn and Balatincz are bad; it’s that Sheen is simply operating on a level they cannot yet attain. Had Ilott found actors to match his star, this would be a five-star review.

The live music, directed by Sarah-Grace Williams, endlessly intensifies the production’s visual sumptuousness and vivacity, especially when Salieri offers his running commentaries on Mozart’s genius as the excerpts are played.

The supporting cast also excels, led by Toby Schmitz as the fey, detached emperor, and including Belinda Giblin and Josh Quong Tart as the two Venticelli, Salieri’s eyes and ears at court.

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