theater review
chess
2 hours and 45 minutes including one break.
Imperial Theater, 249 W. 45th St.
By the time the curtain went up at the Imperial Theater, I had kind of given up hope for “Chess.” It turns out, the set resembles a semi-circular metal staircase along with a platform for the musicians.
This revival, opening on Broadway, tries to breathe new life into an outdated musical that, while infused with ABBA’s charm, presents a confusing narrative about a geopolitical love square that, honestly, feels tough to follow and even harder to care about.
Michael Mayer’s direction doesn’t help. It seems he has developed a strong aversion to effective programming. Relying heavily on the powerful voices of Lea Michele, Aaron Tveit, and Nicholas Christopher, the show struggles to find its footing.
That said, there’s a momentary lift when Christopher sings “Anthem” and the engaging “Where I Want to Be” at the end of the first act as the Russian champion, Anatoly. He might not be the marquee name attracting ticket sales, but he clearly shines.
However, “Chess” drags on for nearly three hours, which feels like an endurance test. Personally, I found the themes of this complex musical, which has somehow captivated audiences for over 40 years, quite disconnecting, even with the catchy tunes by Benny Andersson, Bjorn Ulvaeus, and Tim Rice.
“Welcome to the first, and perhaps the last, Cold War musical,” begins Bryce Pinkham’s character, The Arbiter. Unfortunately, this character feels like a stand-up comic whose material just doesn’t land.
His jokes about current politicians, like Donald Trump and Joe Biden, seem misplaced and add to the already tedious atmosphere. Set in the late 1970s to early ’80s, the new book by Danny Strong seems to pull from last year’s late-night TV content.
Not to mention, The Arbiter repeatedly praises actors’ performances as though he were hosting a talent show, while also commenting on the convoluted plot like a DVD commentary track.
Throughout the performance, Pinkham’s character seems to embody a sense of disillusionment, almost declaring, “This show isn’t worth my time or money.”
As for the story—a mix of conspiracy and intrigue—Tveit portrays Freddie Trumper, an American chess prodigy facing off against the Soviet Anatoly Sergievsky, played by Christopher, in Milan. They are being observed by their respective handlers, who appear to have questionable motives of their own.
However, the play’s use of chess as a metaphor feels forced, hammering its points in a way that leaves the audience weary.
The emotional core—or a semblance of it—comes from Florence, portrayed by Michele, who is caught between her past with Freddie and her love for Anatoly.
Michele, known for her standout performances, including “Don’t Rain on My Parade,” here feels somewhat out of her element, with her renditions lacking the spark they might otherwise have.
The second act introduces Svetlana, played by the impressive Hanna Cruz, who finally steps into a significant acting role.
Tveit can sometimes come off as sluggish, especially when opening the second act with his renowned song “One Night in Bangkok.” He’s surrounded by dancers in striking black-and-white outfits, yet the performance itself lacks excitement.
Musically, the scores feel quite dated. Critics have noted the songs as sometimes melodic but often lacking character. Although there have been worse pop musicals, the music in “Chess,” while catchy at times, doesn’t lend itself well to advancing the story.
In the end, “Chess” might be more suited as an unscripted concert.
Regrettably, tickets for the back row of the mezzanine at that night’s show ran about $216. That’s 17,500 rubles.
To borrow a joke, in Soviet Russia, “chess” plays you!
