A theater revival or a movie reinterpretation appears to be Broadway’s bread and butter as of late. One need not look very far to spot them popping up everywhere, with the majority of shows playing today being based on preexisting properties. The riveting, absolutely stunning interpretation of Chess, now playing at the Imperial Theater, certainly makes the case for why these are so successful. It feels so specifically classic Broadway in style, yet distinct enough in storytelling to feel relevant in the modern day. Staging somehow marries extravagant choreography with simple set design, accompanied by a screen that helps organically convey time and setting. The book by Danny Strong throws a fresh coat of paint on the proceedings—a narrator (Bryce Pinkham) even tosses some meta humor in the mix that works beautifully. A trio of breathtaking performances buoyed by powerhouse vocals play the long game in establishing Chess as the must-see theatre event of the season.
Granted, my familiarity with Chess was limited. My main interest came rooted from Lea Michele’s involvement, who can frankly do no wrong since finishing up her tenure as Rachel Berry on FOX’s Glee. She’s been in the theatre game long before that though, and Chess marks something of a full circle moment for her—it opens in the very same theatre as her Broadway debut as Young Cosette in Les Misérables. Having already seen Michele during her record-breaking run in Funny Girl, it felt refreshing to witness yet another character reset from such a seasoned professional. Alongside Michele, Tony-winner Aaron Tveit and breakout star Nicholas Christopher I had seen once before in Sweeney Todd and Little Shop of Horrors, respectively. Yet, here, both actors are utilized to their full potential as they battle for the heart of Florence (Michele) and the World Chess Championship. But more on them later.
American Freddie Trumper (Tveit) has some major issues when it comes to his approach to chess. For one, Trumper seems to have an undiagnosed bipolar disorder; for another, Trumper is an extremely volatile personality to deal with, whether inside or outside gameplay. Florence Vassey, Freddie’s second in command and regular lover, remains devoted by his side despite their difficulties. One thing is for certain: the KGB really, really wants Russian super-player Anatoly Sergievsky (Christopher) to win this chess tournament. The CIA remains hopeful that Anatoly snagging a win could help smooth over their Cold War negotiations once and for all. Who would have thought that a simple game of chess could hold the fate of the world in its outcome? To the Soviets, Chess is everything. As the narrator tells us constantly to comedic effect, some of this Cold War Musical™ really happened!
The stakes quite literally could not be higher, yet we get the impression throughout that neither chess player truly realizes the gravity of their own involvement. The whole game being played behind the scenes reflects the obvious chess metaphor without a lick of subtlety, courtesy of CIA agent, Walter (Sean Allan Krill) and KGB member, Molokov (Bradley Dean). In a lesser show, shifting to sidebar with these two older men would send the story screeching to a halt. Walter and Molokov instead are seamlessly integrated into the story, and are pretty important to the overall endgame.
Arguably more essential is the character of Florence, who moves around in a game of her own between the two men. This isn’t Challengers though—Florence seems less manipulative than genuinely following her heart. In act II, the addition of Anatoly’s wife, Svetlana (Hannah Cruz), throws a wrench into Anatoly’s evolving relationship with Florence. Typically, withholding a character for half the show could be disastrous. Svetlana fits as a tool and obstacle for Anatoly, and never once seems unnecessary. Cruz hits some crazy impressive high notes that nearly puts her Svetlana on the same belting level as the rest of the cast.
Even if a few aspects here and there appear dated, the narrator/arbiter is quick to call them out in a meta context. His input adds an extra layer to Chess that makes its somewhat dense story completely palatable. He helps to contextualize relationships and inner thoughts that neatly stick new layers onto the characterizations. The songs remain as timeless as ever before, ranging wildly from catchy pop to emotional power ballads. Tunes are punctuated by the smooth music of ABBA, and lyrics from Tim Rice. It cannot be overstated enough that these are truly exceptional songs. Nearly all of them received rapturous applause, with some standouts that include “Nobody’s Side,” “Anthem,” “One Night in Bangkok,” and “Pity the Child.” Immaculate staging and impressive choreography utilize the entire ensemble as one unit, constantly adding an extra dash of flair to the proceedings. The more intimate songs are still greatly supplemented by the fluidity of the ensemble.
The most notable ingredient of Chess though will likely be the primary reason for making a trek to New York City: the irresistible trio of Lea Michele, Aaron Tveit, and Nicholas Christopher. Each of them have an opportunity for bold high notes and, in the case of Christopher, a falsetto. They all give awards-worthy performances in both the acting and singing departments. Character dynamics soar, particularly when all three of our leads interact at once. We come to the theater for full-body chills, and Chess gifts that to us number after number. The act one finale, “Anthem,” ends in a crescendo of emotion that propels us into act II. If the first half allows for more breathing room for the character growth, act II culminates in multiple deep revelations and satisfying conclusions to their arcs. Through it all, the narrator continues checking in on the audience to make sure we’re all okay. Pinkham fluctuates between enthusiastic period-piece narrator to stern chess arbiter with careful ease.
Chess certainly will not be everyone’s cup of tea—those who prefer a more modern musical, or one with flashy special effects, probably need not apply. For everyone else, Chess holds some of the best dancing and musical numbers currently on Broadway, tied to three committed leads giving their all to every single performance, often twice a day. Where Nicholas Christopher might be the sole member of the cast to not yet get his flowers so to speak, his vocal range and excellent acting should propel him to Broadway longevity. A challenging early song, “Where I Want to Be”, showcases Christopher’s impressive command of the material. Tveit’s tracks will probably be the most replayable once the Broadway cast recording finally gets released. His accolades speak volumes, yet Tveit lives up to them, and surpasses what one would expect from a Tony winner. Pieces of As for Michele, can she finally go full Glee-meta and self-actualize Rachel Berry’s Tony win with one of her very own? She holds her own, and hosts the biggest tearjerking emotional moments. Ultimately, this new take on Chess carves its mark into the theatre, and comes complete with a mini-history lesson to go along with it. There are no fireworks, no confetti. Just pure unadulterated Broadway theatre, served up with a main course of jaw-dropping vocals. This is truly one night in Bangkok you will never forget.
Whose side are you choosing? Chess moves into checkmate, now playing regular performances on Broadway. For ticketing information, head over to the official website.
