REVIEW: Chess

Review of the Saturday, January 10, 2026 matinee performance at the Imperial Theatre in New York City. Starring Aaron Tveit, Lea Michele, Nicholas Christopher, Hannah Cruz, Bryce Pinkham, Bradley Dean and Sean Allan Krill. Music and lyrics by Benny Andersson, Tim Rice and Björn Ulvaeus. New book by Danny Strong. Based on an idea by Tim Rice. Orchestrations by Anders Eljas and Brian Usifer. Scenic design by David Rockwell. Costume design by Tom Broecker. Lighting design by Kevin Adams. Sound design by John Shivers. Projection design by Peter Nigrini. Choreography by Lorin Latarro. Direction by Michael Mayer. 2 hours, 40 minutes including one intermission.

While this season may be low in the number of new musical and new musical revival productions, it certainly isn't lacking in jaw-dropping talent. One need not look any further than the spectacularly performed and cast Chess at the Imperial Theatre. I suspect that come awards season we will see many (if not all) of the principal company nominated for many accolades. It is also thrillingly staged and technically exciting. Some truly amazing work has been done to give one of Broadway's most notorious flops the look and feel of a huge hit. But is this a checkmate? Close, but not completely.

The biggest change to this iteration of the ever-evolving piece is the much discussed "new book" by Danny Strong. Things have been streamlined, the focus has shifted, and story lines have been clarified. In fact, it is in much better shape than his last go at it with a production a few years ago at the Kennedy Center. But, and I think it's a big one, it suffers from a lack of consistent tone. By installing the Arbiter as a narrator and a character, Strong helps guide the audience through the labyrinth of plots - chess tournaments, Cold War manipulation, love triangles, etc. James Bond films are clearer. It turns out that by and large the narration does keep things moving and provides much needed historical context. Unfortunately, many of the asides and literal wink-wink-nudge-nudge directed at the audience offer a humorous bit of repetition with a decided amount of diminishing returns: constant reference to the current political climate goes from pointed, legitimate parallels to a cheap ploy to curry favor with the assumed liberal audience. I mean, I'm pretty liberal and have my feelings about things, but even I was tired of hearing it by the end of the show. Perhaps letting the events of history and the characters in the show speak for themselves would have been wiser. A little subtlety in an otherwise bombastic 80's mega-musical would have been a nice counterpoint and probably more impactful statement.

Fans of the score should be pleased - I know I was. There were some new, lovely orchestrations by Anders Eljas and Brian Usifer, who have retained all of the excitement of Benny, Bjorn and Tim's beloved score while bringing in a modern edge to it all. There are even a couple of newer songs near the start of act two, and a pretty overture as well. "He Is a Man, He Is a Child" gives some much needed heft to the character of Svetlana, and "The Soviet Machine" brings in some context and gives the villainous government officials something to sink their teeth into, too. Not to worry, though. All of Chess' greatest hits are still here, albeit in a somewhat different order. "Nobody's Side" is still powerful, "You and I" and "Mountain Duet" are two of the greatest duets currently on the boards, while "Anthem" and "Pity the Child" are the gold standard in character introspection, and "Someone Else's Story" is still one of my favorite female solos of all time. One hopes, with the updated orchestrations, significant changes, and the dynamic performances of the entire company, that a revival cast recording is done, and soon.

At first blush, Michael Mayer's production seems little more than a staged concert, but it really is so much more than that. True, the orchestra is onstage the whole time, and a good portion of the time, the ensemble sits around the edge of the space observing the action. But as the story evolves so, too, does the staging and elaborate choreography of the company, until you realize this is a fully staged musical. And speaking of that choreography - featuring Lorin Latarro's best work to date - it is complex in it uniformity, kaleidoscopic shape shifting, and dazzling in its arm/hand movement, and it is also clever and not without its surprises and sense of humor. "One Night in Bangkok" has never looked better, nor has it ever been as fun and surprising as it is here. It is the "Endgame" sequence - a mini-musical in and of itself - that is a true coup de theater, providing a good ten to fifteen minutes of breathless, spine-tingling musical theater bliss. The roar of approval from the audience at the end must have been very satisfying for the company. What an ovation!

The deceptive austerity of David Rockwell's scenic design and Tom Broecker's costumes are the perfect canvas for David Nigrini's pointed and expansive projections and use of camera work, and Kevin Adams' exciting lighting design. Combined, the technical aspects of this production add more than a few theatrical thrills.

I really can't say anything negative about the ensemble who are a magnificent whole made up of carefully rendered individuals. I will say I was in awe of the um...limberness of the young women (particularly in "Bangkok") and the um...athleticism of the young men in the ensemble. Latarro makes the most of these dancers, giving them plenty to do, always adding to the moving tapestry of the show.

It is, however, the principal company that really makes this show the hit it deserves to be. It's nice to see Broadway veteran Bradley Dean finally in a role he can sink his teeth into, and as fair-weather friend/enemy KGB guy he nails the cold calculation villainy. He is the perfect match for the smarmy, glib and, well, assholery of Sean Alan Krill's CIA operative. These two are nasty in every delicious way, and they are both clearly having a ball doing what they are doing. As the aforementioned Arbiter, Bryce Pinkham is simply terrific, and exponentially better than he was in the previous staging. He can't help the material he has been given, and gives 110% every single second he is on stage. Then there's Hannah Cruz, a standout in Suffs, and a standout here again, who both dazzles and breaks you heart as Svetana, a victim of circumstance and government control. What a voice!

a

No production of Chess has any chance of success without three outstanding performers, and this revival has that in spades. Aaron Tveit is a performer who never disappoints me, and this is no exception. I found his petulant, arrogant, and profoundly wounded take of Freddie to be his most mature to date. Watching him work his way from fetal position to wide-armed soul bearing in his soaring "Pity the Child" was a privilege to witness. Then there's Lea Michele's angry, conflicted and sweetly in love take on Florence, where the actress has never sounded better and has made the role fit her like a glove. Not since "Mama Who Bore Me" have I felt like I didn't want to blink for fear of missing even a split second of either her "Nobody's Side" or "Someone Else's Story." The real highlight of her brilliant performance is her remarkable chemistry with both Tveit and Nicholas Christopher, who, as the Russian Anatoly, is everything you've heard and more. In a genuinely star-making turn, he is the antithesis of Tveit. He is an imposing presence, but not through larger than life actions. Rather, his is a controlled, introspective performance. Oftentimes, it is in standing completely still with the smallest of gestures or just the tiniest change in his facial expressions, that he says the most. And while his "Where I Want to Be" and "Anthem" are amazing, it is his part in the "Endgame" sequence that was worth the entire price of admission. All three are giving performances that people will be talking about for years to come.

It has taken decades for this beleaguered show to return to Broadway. It may never be the perfect show that everyone wants it to be, but what we have now is a wonder all by itself. Miss this one at your own peril.

📸: M. Murphy