CHESS

Written by the great musical lyricist Tim Rice with music by ABBA songwriters Benny Anderson and Bjorn Ulvaeus, Chess is not often attempted by amateur groups but this was Fusion’s second run – previously performed in 2012. Of course, with the inevitable changing membership of a youth company, this was a completely new cast and Director Ian tried not to repeat his direction where possible. What was the same was the standard of performance – how lucky these young people are, to learn the art of musical theatre from such an expert. This show was also enhanced by the choreography of Jillian, who is fast becoming one of the best in local amateur theatre.

The set was very simple but effective and functional – three layers of black staging at the back with a large centre screen above and a smaller one above a small dais front stage left for media presentations. Large props such as bedroom and office furniture were unobtrusively pushed on to either side of the chequer board floor, centre stage. The stage crew were very efficient – perhaps too efficient when they came on rather early and had to wait in common sight as the scene ended! The chess table was ceremoniously set top centre by cast members each time it was needed, which worked well. The projections were excellent showing original as well as historical action – all adding to the atmosphere of the piece.
Most of the set, props and costumes were black and white or muted colours with the odd splash of red which was very evocative. Rosemary Kelly sourced most of the costumes in house and from the cast – I understood the reasoning behind every costume from red ties and dark suits for soviets to stars and stripes and white suits for USA. The chorus, dressed in full black or white T shirts, leggings and shoes, was simple and very effective. Lighting was very professional – following actors as they moved across the stage rather than moving from one spot to another – and always atmospheric. Sound was on cue and, although I like to sit at the front which is very near the orchestra, I think it was well balanced further back.

The chief protagonists Anatoly Sergievsky (USSR) and Freddie Trumper (USA) were extremely well covered by Ethan Haddock and Rory Jeffers. Both are experienced young actor/singers – Ethan can turn his hand equally well to comedy or high drama and his excellent baritone voice becomes better and better as he matures. For Rory – I think this was his best role that I have seen to date. He captured the unpredictable character of Trumper and sang with power and conviction. The Russian “second”, Molokov (actually a KGB agent), was most convincing in the hands of Jordan Kelly and his vocals impressed me. He never dropped his Russian accent and, with his ‘solid’ appearance, always suggested a rather sinister presence. Caroline Naughton took the role of Florence Vassy who started as ‘second’ to Trumper and, after falling for Anatoly, helped him to defect to the West. She was a powerhouse in a small body – my only wish was that she had worn her hair up when needing to look business-like. Anatoly’s wife Svetlana, played by Abbie Watson, does not appear till the second act but made a big impression with “Someone Else’s Story”, and subsequent duet with Florence – “I Know Her So Well”- was beautiful. The Arbitor was confidently played by Evan Keating who held his own every time he had to lead the chorus  – another good voice. The ‘lighter side’ was shown by Jason Troutsas as television reporter Walter de Courcey – a role which he handled well without becoming a caricature.

The large chorus was in fine voice – the opening number sung without movement showed their excellent harmonisation. A good number of boys enhanced the sound and certainly gave the audience a laugh as they pirouetted across the stage in “Embassy Lament”.  Jillian’s varied choreography perfectly fitted the changing scenes from “Merano” to “One Night in Bankok” which was erotic without being at all sleazy. I don’t play chess but I wished I did as the moves were portrayed by the beautiful movement of the chess piece dancers. All the choreography was well rehearsed and precise. Wearing his MD hat, Ian controlled his 11 piece orchestra expertly and had obviously taken much trouble to teach the libretto to the whole cast – musically this is a very challenging show. As Director (as mentioned in my first paragraph) he varied much from his previous direction and with the different cast showed a new approach from his last production of Chess. However, as before, he brought out the best in everyone on stage.

My thanks and congratulations to every person who contributed to such a stand-out evening’s entertainment. I can’t wait to see what Fusion does with Chitty Chitty Bang Bang in the autumn!

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