Chess
Music by Benny Andersson and Björn Ulvaeus
Lyrics by Tim Rice
Based on an Idea by Tim Rice
Directed and Choreographed by Josh Rhodes
The Muny
July 6, 2023
Jarrod Spector, John Riddle and Cast of Chess
Photo by Phillip Hamer
The Muny
The Muny’s lates production has been much anticipated by theatre geeks like me. Chess is one of those shows that’s celebrated for its spectacular score and intriguing concept, but has had trouble over the years assembling all the component parts into a show that works, especially in terms of the book and story details. It’s basically been a “work-in-progress” for roughly 40 years, but it’s such a fun one, and such a great showcase for performers and voices, that its been tinkered with and re-staged–both in concert form and as full productions–in various forms since the 1980s. At the Muny, the cast is stellar and the visuals and staging are spectacular, and even though the book problems are still there, I’m not sure how much that matters since the end result is just so supremely intriguing and entertaining.
With music by Benny Andersson and Björn Ulvaeus of ABBA fame, and lyrics by the celebrated Tim Rice, Chess started as a best-selling concept album in 1984, followed by a stage production in London in 1986 and a revamped Broadway version in 1988. Since then, there have been many productions and recordings, with the Broadway album (on cassette tape) being my real introduction to the show when I was a teenager (aside from the radio hit “One Night in Bangkok” a few years earlier). This is one of those shows that inspires passion in its fans, and while I don’t consider myself an uber-fan of the show, I’ve had a fondness especially for its score since those days listening to that tape and singing along with my brother. I’ve heard various recordings over the years, as well as parts of the filmed concert that aired on PBS a few years ago, but I hadn’t gotten the chance to see it live until now. As I imagine many other “musical geeks” in the audience feel, I’m grateful to the Muny for staging such a vibrant, full-scale production that features some truly breathtaking visuals and magnificent voices.
The story is tied to its time, with a setting around 1986, when the show first debuted in London. It parallels the world of international competitive chess with the Cold War tensions between the United States and the Soviet Union. Strategies, gameplans, and manipulations are not just confined to the chess board, as governments’ reputations become involved, as well as the lives and loves of the people involved in the game. The first act focuses on the World Championship matchup between American champion Frederick “Freddie” Trumper (Jarrod Spector) and Soviet challenger Anatoly Sergievsky (John Riddle), and all the political and personal intrigue that surrounds the match, as well as their highly contrasting personalities and complicated personal relationships. The central figure, though, is Florence Vassy (Jessica Vosk), who serves as Freddie’s second as well as being romantically involved with him. The Hungarian-born, mostly American-raised Florence finds herself exasperated with Freddie’s ego and unpredictability while finding herself mutually attracted to Anatoly, who faces pressures from his handlers to put the interests of his government ahead of his own. As the story plays out, the politics and personalities get more complicated, and Anatoly’s loyalties are challenged, with his Soviet handlers bringing his estranged wife Svetlana (Taylor Louderman) into the mix to help keep him in line. The story can get a little muddled at times and hard to follow, especially since much of it is opera-like with large portions of sung dialogue, but wow, that score! With classics like “Nobody’s Side”, “Pity the Child”, “Anthem”, “Someone Else’s Story”, and “I Know Him So Well”, and the dynamic staging by director Josh Rhodes and a top-notch creative team, this show manages to keep interest even when the relationships and complications can occasionally feel rushed or incomplete.
What shines through the most in terms of the story is the love of the pure game of chess, and that theme also provides an excellent basis for the visuals. The spectacular set by Edward E. Haynes, Jr. and dynamic video design by Alex Basco Koch form a stylish backdrop for the action, as well as emphasizing the chess themes and kinetic energy of the staging. Rob Denton’s striking lighting also contributes to the overall flair of the show, as do Emily Rebholz’s detailed, stylish period costumes. The staging is vibrant and energetic, with a fantastic, enthusiastic ensemble that supports the excellent leads and works as a cohesive group in the various production numbers featuring director Josh Rhodes’s precise choreography.
As for the leads, they are truly stellar, led by a magnificent, powerfully sung turn by Vosk as Florence, who makes an ideal focal character for the story. Spector is also memorable as the cocky Freddie, with strong vocals on his songs, especially the searing, emotional “Pity the Child”. Riddle, as Anatoly, is also strong, with lush vocals on his signature song “Anthem” and good chemistry with Vosk’s Florence. Louderman also makes the most of her relatively small role as Svetlana, turning in a strong duet with Vosk on “I Know Him So Well” and delivering an emotional, relatable “Someone Else’s Story”. There are also memorable performances from Rodney Hicks as Walter De Courcey, a member of Freddie’s entourage who is more than he may first seem; Tally Sessions as Alexander Molokov, Anatoly’s manipulative second; and Phillip Johnson Richardson as the Arbiter, who narrates some of the show and referees the chess tournaments, who shows off some impressive dance moves. The cast works well together, with strong vocal harmonies that highlight the iconic score, even though there is some muddled sound mixing that makes the group singing hard to understand at times. The performers are backed by a first-rate band, as well, led by music director Jason DeBord.
I remember being excited when the Muny first announced this production, and I’ve seen a good deal of enthusiasm among theatre fans online, especially considering the impressive cast, and the fact that this show isn’t produced as much as fans would like. Overall, I would say this production was well worth the wait. Yes, Chess is a show with a complicated history, and at this point I’m not sure if there will ever be an ideal book, but the concept and especially the music make this a beloved show among its fans, and it’s got plenty to please those who may not have heard of it, as well. It’s also sponsored by the St. Louis Chess Club and World Chess Hall of Fame and Museum, which emphasizes the longtime connection that St. Louis has with the game of chess. It’s a dazzling, must-see triumph for the Muny.
Jessic Vosk (Center) and Cast of Chess
Photo by Phillip Hamer
The Muny
