Remaking movies can be a tricky business. Many believe it’s best to pick stories that didn’t shine in their original form. But when it comes to Broadway, it’s not always that straightforward. For instance, reviving a show like Chess has its own challenges.
For most theatergoers, a revival of Chess might not hold as much weight as a long-standing classic. This musical started as a concept album by Tim Rice and the members of ABBA, telling the tale of a fictional chess competition set during the Cold War between the U.S. and the Soviet Union. It produced hits like “One Night in Bangkok” and ran for three years in London. However, its 1988 Broadway adaptation didn’t fare as well and closed quickly. Since then, other versions have appeared in places like Australia and Sweden.
Fast forward to the 2025 revival, and it’s clear that most audience members won’t have strong ties to the original. But behind the scenes, there’s a lot going on that can overshadow the actual performance. Danny Strong’s new script stays true to the British version but struggles to connect the Cold War theme to today’s climate. For example, does it still resonate when characters like CIA agents and KGB officials discuss real treaties?
The story revolves around a tense championship match between the unpredictable American player Freddie Trumper and the more composed Russian player Anatoly Sergievsky. Freddie, played by Aaron Tveit, risks his own future in pursuit of victory, while Lea Michele’s character, Florence, finds herself torn between both men.
An interesting part of this revival is the Arbiter, played by Bryce Pinkham. He breaks the fourth wall, referring to the musical as a “Cold War musical” and occasionally comments on the action. However, his humor sometimes feels forced, especially when it veers into political commentary that lacks bite. It can come off as a last-minute effort to make the production relevant.
Although Tveit and Michele deliver impressive vocals, their characters sometimes feel underdeveloped. Because of this, the narrative struggle among the central trio doesn’t always resonate. Meanwhile, the upbeat “One Night in Bangkok” breaks the emotional tension, but it often feels disconnected from the story’s core themes.
Despite its catchy tunes and vibrant staging, Chess hasn’t fully delivered on its promise. The deeper insights related to Cold War strategies and personal dramas appear muddled. A noteworthy point is the alarm about nuclear proliferation, which lingers in the background but doesn’t quite add weight to the romantic entanglements at play.
In essence, while Chess remains a catchy and intriguing piece, it sometimes feels less like a cohesive production and more like an intriguing musical in search of its place on the stage.
For further exploration of musical theater revivals, check out this analysis of Stephen Sondheim’s Merrily We Roll Along, which offers insights into the evolution of shows over time.
