One of the most remarkable theatrical presentations I saw in 2013, continuing on at various theaters in the United States and Europe, is Sylvia Milo’s The Other Mozart, a rich one-woman play she has conceived, written, and plays in, about Wolfgang Amadeus Mozart’s sister Anna Maria, or Nannerl, as she was known in the family. Today it is easiest to identify her as “Mozart’s sister,” since even specialists know her mainly as one of the composer’s closest confidantes and correspondents. They shared parents, provincial Salzburg, travels, musical gifts, and scatological humor. While “Wolfi,” as she calls him, went to Vienna to seek his fortune in the odd limbo between musical servant, entrepreneur, and stable employment, at least in a preliminary form—which is what was available to him at the time, she accepted the conventional prescriptions of her father. A child prodigy at the keyboard, her musical scope became severely limited once she reached marriageable age. Music became an ornament rather than a profession for her; she had to learn housekeeping—all to attract a husband. At the late age of thirty-three, she was finally married to a husband chosen for her by father Leopold and lost whatever was left of her continually diminishing self-determination.