Chess - The Musical

PGS Theatre Productions
CHESS The Musical Semi-Staged
Performed at The Princess Theatre, Torquay.
As seen by Nina Jarram, NODA SW District 3 Representative on Saturday 18 th
October 2025
Directed by Mark Sidey
Musical Direction from Rob Young
Choreography by Carole Wilson

From the very first notes of the overture, this production demanded attention and
rewarded the audience with a feast for the senses. The effective crossover in the
opening moments immediately drew the audience into the world of Cold War tension
and psychological warfare. The grandeur of the 40-piece orchestra, conducted with
flair and authority by Rob Young, lent the evening a sense of scale rarely achieved in
amateur theatre. Young’s expert baton brought Andersson and Ulvaeus’s iconic
score to life with dynamic precision and emotional nuance—his energy even spilling
into the spotlight during One Night in Bangkok, where his good-humoured hip-
waggling mirrored the show’s playful undertones.
Visually, the production was striking. The decision to dress the ensemble in black
with red accessories offered a compelling contrast to the more expected monotones
of the choir’s attire, subtly signalling authority and power. This palette, enhanced by
the red atmospheric lighting, created an air of tension and expectation, perfectly in
tune with the narrative’s sombre undertones. The projected chess pieces at the back
of the stage reinforced the thematic elements of strategy and conflict, and the
ensemble’s choreographed movements across the stage mimicked the precision and
calculated manoeuvres of a high-stakes chess game.
The opening moments set the tone clearly: sombre and deliberate, hinting at
underlying instability in the state of Denmark. The Arbiter’s assertive vocal entrance
immediately established authority and confidence, providing a steady anchor for the
unfolding drama. The dancers navigated a compromised stage space with aplomb,
demonstrating remarkable professionalism and fluidity in their movement. Carole
Wilson’s ballet choreography was well showcased here alongside her contrasting
dance styles throughout the piece.
Particularly noteworthy were the menacing entrances of the actors portraying the
protagonists. Without uttering a single word, their physicality and command of the
stage conveyed power, importance, and the gravitas of their roles. The choir,
dressed in black and white, cleverly mirrored chess pieces, further tying together the
visual and thematic motifs.

The actor playing the American delivered a standout performance, using nuanced
facial expressions and consistent dramatic intent to communicate his character’s
identity and position within the story. His unwavering commitment to staying in

NODA, 15 The Metro Centre, Peterborough, PE2 7UH
Registered CIO 1171216, Registered Company 241572. Patrons – Lord Lloyd Webber and Connie Fisher
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character added a crucial layer of believability, anchoring the audience firmly in the
narrative world.
Overall, the production excelled in both visual storytelling and musical sophistication.
Its careful attention to detail—from costume and lighting to choreography and
character work—created a cohesive, immersive experience that left a lasting
impression.
A welcoming contrast of direction came from an experienced comedy actress during
a dance number, providing a moment of light relief from the scowling and frowning
foreheads. This was one of many cameo appearances that allowed the experienced
ensemble of actors and dancers to develop individual characterisation alongside the
more defined principal roles. The Chess ballet was choreographed beautifully,
making me think that this piece of theatre could have worked just as effectively as a
ballet—perhaps something for the English Royal Ballet to explore?
A particular highlight for me was the powerful duet performed by two experienced
actors vocally blending to perfection as Florence and Anatoly. Other moments worth
noting of vocal excellence was the acapella performance from 6 members of the
ensemble which was hypnotic and impactful. Throughout the production, the lighting
design was impressive and perfectly matched the energy of the songs' intentions and
messages. Another stand out moment was the delivery of Pity The Child showcasing
a fine tenor acting superbly through song showing the vulnerability of the character
contrasting with the bravado portrayed thus far. A special mention to the young actor
playing the young Frederick, who, during this impactful solo, sustained triumphantly
the role of an abused child managing to draw focus alongside this powerfully sung
moment of reflection.
Act Two opened with the iconic One Night in Bangkok, a number bursting with
energy and swagger. While the choreography and costumes could perhaps have
pushed further into the sensual undertones of the piece, it nonetheless showcased
the orchestra’s versatility and the ensemble’s precision.
The actor playing Molakov seduced us with a gorgeous bass tone which was
accompanied beautifully by a cocktail of pizzicato and arco from the string section.
His US counterpart, Walter, was also convincingly played demonstrating strong
vocals and a stereotypical American swagger. He was the definitive bad guy of the
piece as he tries to convince Florence that her father is alive so that she throws the
match in order to secure his release.

We were not disappointed when we meet Anatoli’s wife Svetlana for the first time as
we are introduced to mellifluous vocals from an actor who clearly understood the

NODA, 15 The Metro Centre, Peterborough, PE2 7UH
Registered CIO 1171216, Registered Company 241572. Patrons – Lord Lloyd Webber and Connie Fisher
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character and served as a much-needed anchor in the second act providing a
contrast to Florence’s journey. The actor playing Florence had her moment during
the reprise of Pity The Child where she sung from her heart reflecting on her life and
her parents’ love. This showed the audience her vulnerability which continued in the
duet I Know him So Well which showcased these incredibly talented singers and
provided the highlight of the night.
The mood certainly did not dip as we were treated to a visually stimulating montage
of a Miss World-inspired procession of women in evening attire representing different
countries. The ensemble commanded the stage cleverly acting out the manoeuvring
of the chess pieces in a creative display of physical theatre, flawless vocals and
inspired artistic vision.
This was a very well-directed piece from Mark Sidey It is no small feat to mount
Chess, a show notorious for its complexity, political subtext, and demanding score.
Yet PGS rose to the challenge with determination and artistry. Every element—from
lighting to costume, from orchestral precision to character work—was executed with
care and ambition.
PGS’s Chess stands as a testament to what community theatre can achieve when
imagination meets courage. In an era where performance spaces in Plymouth are
increasingly scarce, this production proved that innovation and collaboration can still
thrive. To the chairman, committee, and company—your creative gambit paid off.
Checkmate.

PLEASE NOTE: Any observation made by the reviewer can only be based on what he sees at the
performance in question. The reviewer may have received information in advance of the performance
and it is
inevitable that his assessment will be affected by that knowledge.
The N.O.D.A. Representative’s intention is to give an objective critique of the overall production and in
particular the performance viewed. It should be remembered that any review of this nature can only
be objective as far as the techniques used during the performance observed. Any criticisms
expressed may not have been valid at other performances, and are only made to encourage higher
standards in Amateur Theatre.
It is hoped that the audience’s appreciation of your efforts will have given everyone a lift and
encouraged you to greater achievements in the future and that the observations made by the reviewer
will prove helpful in improving future productions.

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