Chess

Chess has, at its heart, a central focus on love, political manoeuvres and how it is sometimes necessary to lose the game to win the ‘war’.  It has one of the more complex plots for a musical and LADAMA were able to bring out the core messages without getting lost in the detail. This was especially true of the three central characters. 

Kirstin Breeze (as Florence Vassy), matched her vocal prowess with a sympathetic characterisation as she developed from second to the American Grandmaster Freddie Trumper (David Mutch), to the strong independent woman whom Anatoly Sergievsky (Darren Johnson) defects to be with at the end of the musical. David and Darren offered fine characterisations as the show progressed, both expressing strong, confident characters, with that of the Russian drawing sympathy by the final curtain. Amii Stewart gave a commendable performance as Svetlana Sergievsky. The Arbiter (Andrew Gardiner) and Walter De Courcey (Kevin Keir) both gave accomplished performances, but none more so than Mark Grieve (as Alexander Molokov), whose singing, accent and general Russianesque demeanour never faltered throughout. If I had to pick out my top number from the show, it would have to be the duet between Florence and Svetlana “I Know Him So Well”.  

The show was sensitively directed by Malcolm J Burnett and the LADAMA chorus were, as always, in fine voice, with the dancers too, in fine form – ably choreographed by Clare Stewart.

A very fine orchestra was in the capable hands of MD Suzanne Stewart.

Unfortunately, at times the sound balance got a bit out of hand, leaving a lot of the lyrics indistinguishable. Whilst on technical matters, please remember, the audience come to see their family and friends on stage. The lighting should light the show and not be a light-show. Too often chorus – and sometimes principals – were left in the gloom or, indeed, darkness. You can get away with this style in a West end show but not in a local musical company. Haze, too, has to be carefully controlled, and be sent where it is intended, ie into the beams of light, rather than staying at head level!

Set-wise the show worked well with minimal, mainly trucked furniture pieces. The dancers’ tapping emulating the typewriters at the desks worked extremely well.  Congratulations to Stage Manager, Sheona Goodall and her team for the smooth transition between scenes!

Well done LADAMA for having the courage to take on one of the more difficult of musicals!

Many thanks for inviting us along!

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