Chess the Musical, directed by Rod A. Lansberry, opened last night for its limited run at the newly opened Lone Tree Arts Center to what appeared to be a wait-and-see crowd.
When the U.S. and Russian Chess champions meet in Italy — for the World Championship match set during the Cold War, with their respective entourages in tow — love, romance, ambition and greed are leveraged and played like pawns by two geopolitical machines.
The Tim Rice-inspired musical, for which he wrote the lyrics, was a hit during its long run in London’s West End in the 1980s and spawned the hit single “One Night in Bangkok.” But with some changes to the show, it didn’t fare as well on Broadway. Tonight’s production was inspired by the London version and was a solid performance by the entire cast… with moments of spectacular. The story and score of this play are among the most overlooked works by the general public: If you follow the storyline below, you could experience the entire play through the soundtrack alone. And I recommend you do.
CHESS has such powerful, brilliant lyrics and music that performers don’t use the songs to spotlight themselves. They are more like vehicles through which the raw and emotional message of CHESS is delivered.
CHESS, the Musical
In ACT I, Sydney James Harcourt (The Arbiter) opens the show by explaining the origins of the game of Chess during the Middle Ages. Afterward, two modern men in trench coats and fedoras stand at opposite ends of a chessboard, representing a Spy Vs. Spy scenario, where the powers-that-be really control the game the champions are about to play. When the brash American Freddie (Gregg Goodbrod) throws a temper tantrum and storms out of the match, it sets the stage for his manager and sometimes lover, Florence (Lisa Karlin), to find herself in a one-on-one meeting with Anatoli (Tally Sessions), where the two experience an attraction between them.
Sydney James Harcourt, Gregg Goodbrod, and Lisa Karlin bring the play to life early on through their vocal talents, though the cavalier Freddie and annoyed Florence are not an ideal (vocally) pair in their duets. Tally Sessions’ (Anatoli) character — as the Russian chess master — is fittingly reserved and far less animated, as is the low-key Stephan Day (Molokov; Anatoli’s manager — and a KGB operative). Meagan Van De Hey (Svetlana; Anatoli’s wife) is barely noticed.
With a curved staircase on either end of the stage — rising to meet on a recessed second level (that at times would slide forward or backward) –, along with a slow-turning area of the main floor center stage, the visual was simple, yet dynamic and effective, complemented with well-executed choreography, good costumes and good use of the space available.
The first crowd-stirring song of the night was delivered by Florence near the end of Act 1 with “Heaven Help My Heart,” followed by the equally moving closing number “Anthem” by Anatoli, who let down the barriers of his reserve to passionately reveal the man that resides within, who until now had been hidden behind his cool, unemotional exterior. With these two numbers, the wait-and-see audience seemed to awaken and engage.
ACT II opens with a strong company performance, led by The Arbiter (who brings a playful, casual personality to a cast of drama-laden characters), with the uptempo pop hit “One Night in Bangkok.”
In the heartfelt love duo “You and I” (by Anoltoli and Florence), Talley Sessions and Lisa Karlin complement one another vocally and emotionally with an inspiring delivery. Near the end of Act II they rise to yet another level in a reprise that is beautifully done.
Molokov, whose presence has been mostly low-key in the shadows, is a consistent, sinister character played well by Stephan Day, and he has a moment to shine with his strong bass voice during a fun number with his Soviet cronies in “The Soviet Machine.”
In mid-Act II, the reserved and dutiful wife—and loyal Russian patriot—Svetlana’s frustration begins to crack her quiet demeanor. Her frustration and pain at being cast aside for Anatoli’s love for Florence [and subsequently left alone in Russia while he defects to England] are laid bare on stage as she sings “Someone Else’s Story” with the fire and passion clearly boiling in her blood. A stellar performance, Megan Van De Hey!
When she meets Florence, they —in an appreciation, if not equal respect, for each other’s predicament in this love triangle —are spot-on and blend perfectly in the duet “I Know Him So Well.”
Colin Alexander, as Walter, the American businessman fronting for the CIA, also has a strong voice, though the role lacks any show-stopping songs to showcase him. Of the leads, not every song was perfect in its execution. However, other performances of theirs were so good, powerful, and well-delivered that they pierced your soul and stirred your emotions without your consent. And I dare say—as an almost thirty-year fan of this musical—that those numbers were delivered better than the Broadway cast album and equal to or better than the original London cast album, which speaks volumes about a regional production.
Among those standout performances were “Heaven Help My Heart”, “Anthem”, “Someone Else’s Story”, the duets “You and I” and “I Know Him So Well”, and an incredible “Pity The Child” by Gregg Goodbrod (as Freddie).
If you like stories of love against staggering odds, and songs that move you emotionally, this is the show for you, and this is a terrific cast to experience it with. They are a well-rounded cast, with spectacular moments that will take your breath away.
CHESS at the Lone Tree Arts Center (10075 Commons Street, Lone Tree, CO 80124) runs from April 20 – April 29th. Prices range from $58 – $72. More information about The Lone Tree Arts Center .
5 stars
CREDITS
Lyrics by Tim Rice (Jesus Christ Superstar, Evita)
Music by: Benny Andersson & Bjorn Ulvaeus (ABBA, Mamma Mia)
Based on the idea by Tim Rice
Directed by Rod A. Lansberry
Musical Director: David Nehls
Choreographer: Kitty Skillman Hilsabeck
Lighting Design: Jacob Welch
Production Stage Manager: Lisa Cook
Assistant Stage Manager: Lisa A. Kurtz
Sound Design: Steve Stevens
Scenic Design: Brian Mullgrave
Costume Design: Clare Henkel
Wig Design: Diana Ben-Kiki
