Chess

This was the first non-professional production of Chess I had seen and as this was so very different from this Company’s usual choice of show, I was a little apprehensive when I arrived. I need not have worried it was an excellent show. With Music from ABBA’s Benny Anderson and Bjorn Ulvaeus and storyline and Lyrics from Tim Rice the material the company had to work with was exciting. The story centres around a politically driven cold war era Chess tournament between Grand Masters from Russia and America; but also their fight over the love of a woman, who is in a relationship with and manages the American, but falls in love with the Russian who is estranged from his wife.

Staging this show is not easy and stage manager Alan Gaskins and team certainly rose to the challenge and provided a simple but very effective set. The floor of the stage was a Chess Board with rostra at the back on several levels and steps accessing it on three sides. There was a large screen at the back of the stage for location and other projections and Russian and American Flags permanently suspended over the stage; furniture taken on and off as required. The lighting had been well designed and along with the projected images always on cue. The images projected onto the screen had been well chosen, immediately changing the location. They made it very easy for the audience to follow the story, especially in the song with the names of the chess players. The control of the microphones and quality of sound was excellent, not a crackle to be heard, but on this first night one or two apparent slow cues so we lost the beginnings of some songs. The ensemble costumes had been well coordinated with the Chess theme in black and white, and were effective in differentiating the Russians and Americans. All other costumes fitted well and were appropriate to the characters; the dancers costumes in Bangkok were vibrant.

Choreographer Liz Warner had assessed the abilities of the company and had tailored the dances accordingly, she was able to achieve more complex numbers with her team of ‘dancers’, and had drilled the chorus well in their in their movements. I especially liked the choreography for Bangkok.  Everyone looked confident with very precise movements when the choreography called for it.

Musically this show is challenging and Musical Director David Whittle had assembled a fine orchestra for this production. He was always in total control of the musicians which gave a well-balanced sound, although too loud at times, overpowering the singers. The singers had been well trained and were always in time with the orchestra. Although this is not perceived as a show with big chorus numbers, the ensemble were kept busy throughout, with the men’s chorus giving great amusement when gradually succumbing to the effects of alcohol.

The principals in the show were all very strong and had developed individual personalities. It was only after reading the programme notes that I realised I had seen some of them in other roles. I had not recognised the actors from previous stage performances. They all embraced the challenge of the show singing and acting with confidence, and always in total charge of their character. But I must make special mention of Olivia Sheldon, as Florence Vassy, who gave an all round outstanding performance, conveying such emotion with her fabulous singing.

Director Daphne Herbert had certainly taken the company completely out of its comfort zone with this choice of production and it worked. Everyone clearly understood what was expected of them and had produced well-rounded characters, interesting choreography, appropriate costumes and hairstyles. Together with a good orchestra and well-designed set this was a production any society would be proud of, with everyone working together to produce quality entertainment for its audiences.

Congratulations everyone.

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