Chess the Musical

Chess The Musical was written when the 20th Century cold-war was still very much in effect.  The Berlin Wall had not fallen and the USA and USSR were finding any way to undermine each other’s political system and score propaganda points wherever possible.  International Chess was part of that cold war conflict and this Musical weaves this historical backdrop together with a classic story of love and betrayal across the political divide.

My first experience of Chess the Musical was as a teenager where I think, through constant repeat playing, I probably wore out my Double-LP Vinyl Soundtrack Album.  Since then I have seen a couple of theatre productions that have never lived up to my expectations.  The music and lyrics are always a strength but the productions have had little imagination and become quite painful to watch…So I came to the BMTG production of Chess with very mixed feelings but also confident that the production team, with their track record of innovation and attention to detail, would be able to deliver a production of Chess that would finally complement the ABBA team’s music and Tim Rice’s lyrics. 

Tonight, from the first bars of The Story of Chess, I realised that I was in for a magical experience with the BMTG team complete with power-house vocal performances, naturalistic acting and truly original video and TV inserts from broadcast quality cameras used by members of the ensemble on the stage in real time, to bring the story into our Always-On social media driven culture to life.

Robert Stott-Marshall was outstanding in both vocal and acting delivery making Fredrick Trumper the American Chess World Champion, and latterly TV pundit, a dynamic force across the night.  Robert brought out the complexity of Trumper including his inner turmoil with anger, insecurity and vulnerability fighting each other for control and, deep down, a fundamental love of Chess.  His delivery of Pity the Child coupled with the visual production is something that will live with me for many years to come.

Sara Evans-Bolger was simply superb as Florence Vassey both vocally, with stand-out delivery of solo numbers including Nobody’s Side and Heaven Help my Heart as well as the iconic duet I Know Him So Well.  Sara’s strength was not just vocal however, her characterisation on Florence was grounded and authentic with no over-acting or mannered delivery bringing a central truth to her performance throughout. 

Craig Arme delivered one of the finest performances I have seen from him as Anatoly Sergievsky the Russian Champion who defects to the West to be with Florence.  His vocal performance was stunning throughout the evening including the emotionally shattering Anthem.  This vocal dynamism coupled with Craigs acting performance took the production to the next level.

Brogan Jones was faced with the challenge of playing Svetlana Sergievskaya the deserted wife of Anatoly who arrives at the start of Act 2 and then must quickly take centre stage and drive the production forward with her delivery of Someone Else’s Story and I Know Him So Well.  Tonight, Brogan was very much up to that challenge and she soared vocally and also in her characterisation of Svetlana.

Matt McAuley perfectly judged his characterisation of the Arbiter across the evening with great vocals and the appropriate gravitas that the defender of the history of Chess requires.  Robert Charkes was clearly having a ball as the USSR Chess Chef de Misson.  His contempt for the West and its Chess players was clear in every scene and his vocal harmony work was on fire.  When given the chance to shine in The Soviet Machine Advances he took it and smashed it out of the park.  Bobby Hughes was happy to take up the vocal and acting challenge left by Robert and played Walter De Courcey the manipulating USA team boss to great effect.

The Ensemble are as key to the overall success of this production as the principals.  They delivered great support as a 21st Century social media Greek Chorus and also included some great dance and harmonic talent.  So many congratulations to David, Jane, Sarah, Thomas, Maria, Ruth, Joseph, El, Masie, Sam, Arden-Caspar, Elsa, Arron, Ben and Christine. 

In addition to the on-stage performers the quality of the Band also enhanced the overall production with great sound clarity supporting full cast numbers, solos and duets alike across the performance.

I have never seen such a completely immersing production of Chess.  The quality of acting, vocal delivery, staging, costuming, lighting, sound and live TV camera work, projected in real time at the Duchess Theatre was truly inspiring.  So massive congratulations and kudos to both Matt Powell and Abi Stott-Marshall.  I never would have imagined that what you created was possible and for me this is now the benchmark for any future production of Chess I see on any stage, anywhere!

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