(Rated 8/5 )
I have a tendency to see productions I love more than once but not usually with 32 years in between performances and nor when I can hardly remember a thing about them aside from the obvious aspects – like the fact the BBs of ABBA composed the music in collaboration with Tim Rice on lyrics and that some of those songs burn into your ‘memory’ (musical-associated pun maybe intended) with enduring neural connections. I do remember the first of many times I saw ‘Les Mis’ but that had a personal association of going with my parents to the then new Barbican Centre. I could cheat and look up where ‘Chess’ was on but that wouldn’t be ‘playing the game’. And my goodness that is such a huge part of this show which I certainly never appreciated in full 32 years ago. ‘Chess’ was inspired by the political game of the time – the Cold War – and as Tim Rice comments here we are again very unfortunately – in a political conflict involving the same state players Russia and the USA and others. Then there’s the game of chess itself of course. But the layer deeper than that – which I suppose I was too young at the time to fully comprehend was the psychological and emotional games between the players/characters and that on so many levels with intriguing enticing complexity. And in addition the depth of life journey exploration in the songs. I am sure this is true of other musicals – in fact ‘Les Mis’ and Blood Brothers are great examples too - but I feel I’ve only just fully taken in how much any individual song written expertly – and in this case with simple poignancy in the words – can say all you need to know about any single character.
I have a tendency to see productions I love more than once but not usually with 32 years in between performances and nor when I can hardly remember a thing about them aside from the obvious aspects – like the fact the BBs of ABBA composed the music in collaboration with Tim Rice on lyrics and that some of those songs burn into your ‘memory’ (musical-associated pun maybe intended) with enduring neural connections. I do remember the first of many times I saw ‘Les Mis’ but that had a personal association of going with my parents to the then new Barbican Centre. I could cheat and look up where ‘Chess’ was on but that wouldn’t be ‘playing the game’. And my goodness that is such a huge part of this show which I certainly never appreciated in full 32 years ago. ‘Chess’ was inspired by the political game of the time – the Cold War – and as Tim Rice comments here we are again very unfortunately – in a political conflict involving the same state players Russia and the USA and others. Then there’s the game of chess itself of course. But the layer deeper than that – which I suppose I was too young at the time to fully comprehend was the psychological and emotional games between the players/characters and that on so many levels with intriguing enticing complexity. And in addition the depth of life journey exploration in the songs. I am sure this is true of other musicals – in fact ‘Les Mis’ and Blood Brothers are great examples too - but I feel I’ve only just fully taken in how much any individual song written expertly – and in this case with simple poignancy in the words – can say all you need to know about any single character.
And on that note we are welcomed to the show with the best
smile ever by The Arbiter (Cedric Neal) – I absolutely loved him from the
moment he opened his mouth – and for me the ‘The Arbiter’s Song’ so expressive
of character and delivered to perfection. Just while I am on welcomes the staff
of the Colisium were so warm and helpful too – I felt really looked after. But
back to individual characters and their theme songs, the power of ‘Pity the
Child’ and backstory for Freddie Trumper (Tim Howar) is extraordinary. I can’t
believe I’d forgotten it from the original. For his character his showy self-obsessed
charismatic entrance and ‘One Night in Bangkok’ are more likely to come to
mind. Now with counselling experience and the way that childhood loss/abuse/neglect
explains the character’s behaviour and craving for attention and fame – being lost
without it – your initial dislike of Trumper (yes I know!) immediately turns to
empathy. What a song! The American was very raspy rocky in style which was a
great contrast to Michael Ball’s (as the Russian Anatoly Sergievky) more
theatrical operatic style. I probably don’t need to say how impressive he was –
gorgeous voice. Nobody lets the side down at all. Alexandra Burke (as Anatoly’s
wife Swetlana) really is so talented and – though you might think just another
X-factor winner – she has an outstanding voice. Cassidy Janson as Florence
Vassy was new to me – excellent – and so emotionally expressive – she lived
Florence’s emotions in voice and facial expression. As did I. ‘I Know Him So
Well’ is arguably the most famous song from Chess – originally performed by
Elaine Paige and Barbara Dickson – in this production it moved me to tears. In
fact I spent the entire time holding back tears and almost unable to contain my
feelings! These days I do more enjoy plays than musicals but in saying that I feel
I’ve dismissed the power of music to wrench at your heartstrings both with joy
and sadness and all in between. My favourite performance – though not favourite
song as such – was ‘A Model of Decorum and Tranquility’ for the skill it
requires in harmony, timing and above all argumentative drama – performed by
Cedric, Michael, Cassidy and Phillip Browne as the scary deep-voiced Molokov.
Wow just wow!
It’s a long show – almost 3 hours – yet unusually for me
right now I felt no pain at all! Maybe the seats at the Coliseum are really
comfy or I was so engrossed that pain faded away.
This 21st century production of the 20th
century original was truly amazing with the clever use of current media such
that it was both a stage and screen piece. On the screens characters on
different parts of the stage could be presented side by side – perhaps to best
effect in ‘I Know Him So Well’. It also allowed us in the cheaper seats (!) to
see close-ups of the performers’ faces. And the protagonists’ chess battle
going on whilst we see images of the cold war battles on screen in stark
accompaniment - in addition to Cedric Neal – yes my favourite – telling us the
story of chess.
It has been criticised for lack of story. Who needs story
when you have such clever symbolism and communication between different aspects
of conflict and game-playing on so many levels and symbiosis of music,
psychology and lyrics communicating such depth of drama.
Oh and to add to all that you have the excellent ENO playing
the score. And dashing dancing!
I recommend John Snelson’s article in the program ‘Not The
Game, But The People’ and of course the two Bs are Benny Andersson and Bjorn
Ulvaeus. Scandinavians certainly do rock!
A truly remarkable multi-media and multi-style entertainment
experience.
Chess – Review by TheRestrictedReviewer © 2018
