Chess The Musical

By Angie Bedford

My first experience with Chess was the Broadway cast recording featuring the phenomenal Judy Kuhn. From the moment I heard the thrilling overture, I knew this musical was special.

To some, it would seem I fell in love with the ‘bad’ version of the show. But which one is the best? The Elaine Paige original, the Australian Chess set in Bangkok, Idina Menzel’s concert?

Chess’s various reincarnations have seen the story shift countries and characters change nationality. Songs have been cut, altered or reallocated, and the ending has changed. No one quite seems to have found the right formula for Chess. And yet it has this enduring quality, featuring some of the most coveted roles in theatre.

The key to Chess really is its music. ABBA’s Benny Andersson and Bjorn Ulvaeus have woven together a variety of styles to create a rich rock musical score, a soundtrack to a romantic triangle featuring arrogant American chess player Frederick Trumper (Martin Crewes), Russian player Anatoly Sergievsky (Simon Gleeson) and Trumper’s second, Hungarian born Florence Vassy (Silvie Paladino). The rivalry is set against East-West political intrigue.

The Production Company’s interpretation, directed by the very capable Gale Edwards, has given Chess a significant nip and tuck.

Devotees will be astounded that Act One is just over half an hour long. Post show, Edwards cited the complexity and cumbersome nature of the narrative as one of the show’s major flaws. To combat this, this version capitalised on the best bits of Chess’ wonderful score, discarding unnecessary dialogue and reprises.

At times these changes were to the detriment of solid character development. The placement of ‘Heaven Help My Heart’ and ‘Nobody’s Side’ were questionable, affecting Florence’s motivations in these moments.

The Producers - Photographer: Jeff Busby

We even had Michael Falzon’s Arbiter and the Ensemble finishing off ‘Nobody’s Side’ for Florence. This provided an exciting new energy to the number, but I couldn’t help but feel a bit jilted for Paladino, as it really is a key moment for Florence.

That said, Edwards has really have pulled off a remarkable feat – this Chess is well-paced, easy to follow and bursting with energy.

The Production Company have spoilt us with a cast of phenomenal voices. Paladino’s Florence and Simon Gleeson’s Anatoly were a great team, with many wonderful vocal moments. Gleeson is at career best here. Crewe’s Freddie possibly gave too much too soon character wise, but shone in ‘Pity the Child’. Falzon’s Arbiter was a charismatic ring leader.

Always outstanding, Falzon owned every scene – I’d love to see him take on the role of Freddie one day. Mark Dickinson as Anatoly’s second Alexander Molokov was a joy to listen to and watch. This great mix of voices, coupled with Orchestra Victoria at their very best, filled the State Theatre with the most sumptuous and satisfying sound.

Tony Bartuccio’s choreography was well suited to the space. The dominant movements were simple and stylised, but there were also lovely contemporary ballet moments in the chess games, and even aerial silks in ‘One Night in Bangkok’.
Shaun Gurton’s stunning chessboard is a constant symbol throughout, beautifully lit by Paul Jackson and Robert Cuddon. It is one of the finest sets I’ve seen in the State Theatre.

Krystal Gidding’s costume design transforms the large ensemble into stylised Chess pieces, in an array of black and white couture. The black and white theme is tastefully modified throughout the piece, a wonderful contrast to the explosion of colour in ‘One Night in Bangkok’.

Rarely performed, often ridiculed, Chess is a musical gem that you simply cannot miss.