Please note that this show runs with a Cast A and a Cast Z alternating performance dates. This review is based on Cast A.
The story of Chess The Musical had perhaps been forgotten in recent years, that was, until its Broadway revival featuring Lea Michele. Tim Rice known for Jesus Christ Superstar and Evita, worked with Benny Andersson and Bjӧrn Ulvaeus from ABBA to launch the show in 1986 telling a dramatic story about a chess championship against the backdrop of the Cold War.
Perhaps, more interestingly the show is widely known for being a flop. That's not to say it's a bad show to revive, the score is fantastic, there are brilliant ballads, and it has become a cult hit. Perhaps The Royal Academy Musical Theatre Company felt they could do justice to the show across their six-performance run, and restore its reputation?
This sung-through musical is heavily reliant on strong durable vocals and perfect orchestration. It is a difficult balance to strike, and whilst the orchestra is superb, characters like The Arbiter, played by Jobim Ffrench, sadly can't compete. The characterisation is delivered in a way that really doesn't match the tone of the show, the direction seems to be ‘spaced-out' rather than a figure of authority. This is disappointing for Ffrench who has a lovely smooth voice.
Staging an epic like Chess falls to Andzej Goulding who strikes the balance right when using live video on stage. It doesn't feel gimmicky in the way we've come to see imitations of Jamie Lloyd's work, rather it brings the spotlight and attention to the Chess championship and its media drama.
Our leading chess players are Emilio Moreno Arias as Freddie and Adam Haddour as Anatoly, who have a difficulty delivering consistent accents, despite this, they take on powerful songs like Pity the Child and Anthem with gusto. It's not until the Endgame where Haddour fully reveals himself vocally and delivers an emotional performance. Arias is well-cast as the cocky American, he's dynamic in movement, expressive and able to pivot his emotions and demonstrate them clearly to the audience.
The brightest stars on stage are Laura Araiza Inasaridse as Florence and Rachelle Ojomo as Svetlana, playing the lover and the wife of Anatoly respectively. Inasaridse is a powerful player on the board with her flawless rendition of Nobody's Side in Act One, whilst Ojomo delivers an emotive rendition of Someone Else's Story when she finally arrives in Act Two. Ojomo would have stolen the show completely if not for how consistently well Inasaridse performs her role, and of course their well-balanced duet of I Know Him So Well.
The male company delivers some of the best group numbers with Diplomats being the perfect track to set the tone of the show. The black leather jackets and uniforms contrasted against the white trousers with red suit jackets is a spot-on costume choice too.
Where this production falls short is its lack of bite from the company in certain numbers, the plastic prop stein glasses which shouldn't be clinked on stage, and One Night in Bangkok was a slightly unimpressive Act Two opener.
And yet, they deliver when it really matters. The Deal is well executed, and we finish the show with a real high.
This production succeeds in several of the hardest areas: orchestration, leading-lady vocals, and the modern staging choices. But I left wondering, were some of the casting choices in Cast Z perhaps better suited to some of these roles?
Review: James Dix Photos: Craig Fuller