Chess (musical)
Chess | ||
---|---|---|
Book Tim Rice (West End version) | Richard Nelson (Broadway version) | |
Productions | 1984 European Concert Tour 1986 West End 1988 Broadway 1990 First US Tour 1990 First UK Tour 2003 Broadway Concert 2008 London Concert 2010 Second UK Tour 2018 Washington, D.C. Revival 2018 West End Revival 2020 Japan Tour 2020 Moscow 2022 West End Concert 2022 Broadway Concert | |
Awards | Nominated for 1986 Laurence Olivier Award for Best New Musical |
Chess is a
Chess allegorically reflected the Cold War tensions present in the 1980s. The musical has been referred to as a metaphor for the whole Cold War, with the insinuation being made that the Cold War is itself a manipulative game.[3] Released and staged at the height of the strong anti-communist agenda that came to be known as the "Reagan Doctrine",[4][5] Chess addressed and satirized the hostility of the international political atmosphere of the 1980s.
As with other productions such as Jesus Christ Superstar and Evita, a highly successful concept album was released prior to the first theatrical production in order to raise money. In the case of Chess, the concept album was released in the autumn of 1984 while the show opened in London's West End in 1986 where it played for three years. A much-altered US version premiered on Broadway in 1988 with a book by Richard Nelson, but survived only for two months. Chess is frequently revised for new productions, many of which try to merge elements from both the British and American versions, but was not revived in the West End until 2018.
Chess placed seventh in a BBC Radio 2 listener poll of the UK's "Number One Essential Musicals".[6]
Development
This section needs additional citations for verification. (November 2015) |
Tim Rice, a lyricist and librettist best known for musicals such as Jesus Christ Superstar and Evita, had long wanted to write a musical about the Cold War. During the mid-1970s, he had discussed the idea of a musical about the Cuban Missile Crisis with his usual collaborator, composer Andrew Lloyd Webber, but the idea never came to fruition.
By the late 1970s, Rice had become inspired to tell his Cold War story through the prism of the long-standing United States-Soviet Union chess rivalry; he had earlier been fascinated by the political machinations of the 1972 "Match of the Century" between Bobby Fischer and Boris Spassky.[7] However, by the time Rice wanted to begin work on the musical in early 1979, Lloyd Webber was unavailable, as he was already at work on his next musical, Cats.
Subsequently, American producer Richard Vos suggested to Rice to work with Andersson and Ulvaeus instead, knowing that they were looking to develop and produce projects outside of ABBA. An ardent fan of the group, Rice agreed. He later wrote that he felt no reservations because "there is a sense of theatre in the ABBA style".[8] With Vos also in attendance, Rice met with the two in Stockholm for the first time on 15 December 1981 in order to discuss the concept, and they quickly signed on to the project.
All through 1982 and 1983, the three men worked on the music and lyrics. Rice would describe the mood of particular songs he wanted, then Andersson and Ulvaeus would write and record the music and send the tapes to Rice, who would then write lyrics to fit the music, and send the resulting tapes back to Andersson and Ulvaeus and so on.
Some of the songs on the resulting album contained elements of music Andersson and Ulvaeus had previously written for ABBA. For example, the chorus of "I Know Him So Well" was based on the chorus of "I Am An A", a song from their 1977 tour,[9] while the chorus of "Anthem" used the chord structures from the guitar solo from their 1980 ABBA song "Our Last Summer".
Ulvaeus would also provide dummy lyrics to emphasise the rhythmic patterns of the music, and since Rice found a number of these "embarrassingly good" as they were, incorporated a few in the final version. The most well known example is "One night in Bangkok makes a hard man humble".[10] One song, which became "Heaven Help My Heart", was recorded with an entire set of lyrics, sung by ABBA's Agnetha Fältskog with the title "Every Good Man",[9] although none of the original lyrics from this song were used.
Partly to raise money in order to produce the show in the West End and partly to see how the material would fare with the public, it was decided to release the music as an album before any stage productions were undertaken, a strategy that had proven successful with Rice's two previous musicals, Jesus Christ Superstar and Evita.
Owing in part to the different countries in which the lyricist and composers resided, recording on the
Original album
History
The
On 27 October 1984, a concert version of the album was premiered by the original cast in London's
In 1985, music videos were filmed for the songs "One Night in Bangkok", "Nobody's Side", "The Arbiter", and the ballads "I Know Him So Well" and "Pity the Child", featuring the performers from the album, directed by David G Hillier and produced by Nick Maingay. These were released together in a VHS video entitled Chess Moves.[12]
Critical reception
The original
The album became a Top 10 hit in the UK, West Germany and South Africa, reached #47 on the US
Principal cast
- The American – Murray Head
- The Russian – Tommy Körberg
- Florence – Elaine Paige
- Molokov – Denis Quilley
- The Arbiter – Björn Skifs
- Svetlana – Barbara Dickson
Track listing
All lyrics are written by Tim Rice & Björn Ulvaeus; all music is composed by Benny Andersson & Björn Ulvaeus
No. | Title | Performed by | Length |
---|---|---|---|
1. | "Merano" | Chorus of Townspeople, The American | 6:59 |
2. | "The Russian and Molokov / Where I Want to Be" | The Russian and Molokov / The Russian | 6:19 |
3. | "Opening Ceremony" | The Arbiter with Ensemble of Townspeople, Russian Heavies and Merchandisers | 9:18 |
4. | "Quartet (A Model of Decorum and Tranquility)" | Molokov, Florence, The Arbiter and The Russian | 2:17 |
No. | Title | Performed by | Length |
---|---|---|---|
5. | "The American and Florence / Nobody's Side" | Florence and The American / Florence | 5:25 |
6. | "Chess" (Instrumental) | 5:44 | |
7. | "Mountain Duet" | Florence and The Russian | 4:42 |
8. | "Florence Quits" | Florence and The American | 2:52 |
9. | "Embassy Lament" | Chorus of Embassy Clerks | 1:30 |
10. | "Anthem" | The Russian | 3:03 |
No. | Title | Performed by | Length |
---|---|---|---|
1. | "Bangkok / One Night in Bangkok" | The American and Ensemble | 5:00 |
2. | "Heaven Help My Heart" | Florence | 3:29 |
3. | "Argument" | Florence and The Russian | 1:50 |
4. | "I Know Him So Well" | Florence and Svetlana | 4:16 |
5. | "The Deal (No Deal)" | The American, The Russian, Molokov and Florence | 3:55 |
6. | "Pity the Child" | The American | 5:29 |
No. | Title | Performed by | Length |
---|---|---|---|
7. | "Endgame" | Molokov, The Russian, The American, Florence, Svetlana and Ensemble | 10:46 |
8. | "Epilogue: You and I / The Story of Chess / You and I (Reprise)" | Florence, The Russian, and Ensemble | 10:24 |
Total length: | 93:18 |
Deluxe edition album
A 2014 release called Chess: The Original Recording Remastered Deluxe Edition was released in celebration of the 30th anniversary original double album. Released as a double-CD and single DVD, the album features the complete original 1984 concept recording. The remastered and expanded (deluxe) edition includes three previously unreleased bonus tracks as well as a DVD featuring a documentary and five video clips of songs from the album.[15]
CD
Previously unreleased bonus tracks.
No. | Title | Performed by | Length |
---|---|---|---|
9. | "Press Conference" | The Ambrosian Singers | 4:35 |
10. | "Intro Mountain Duet (Der Kleine Franz)" | London Symphony Orchestra | 1:54 |
11. | "Anthem" (Instrumental) | London Symphony Orchestra | 2:55 |
Total length: | 102:42 |
DVD
Documentary:
- Magasinet Special: Chess 1984 – London Symphony Orchestra, Tommy Körberg, Elaine Paige, Murray Head, Anders Eljas, Denis Quilley, Barbara Dickson, Björn Skifs
Music videos (all of which can be found on Chess Moves):
- "One Night in Bangkok" – Murray Head
- "Nobody's Side" – Elaine Paige
- "The Arbiter" – Björn Skifs
- "I Know Him So Well" – Elaine Paige, Barbara Dickson
- "Pity the Child" – Murray Head
Charts
Weekly charts
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Year-end charts
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British stage version
History of the original West End production (1986–1989)
Chess premiered in London's
The London version expanded the storyline of the concept album, adding considerable new
Critical reception
The premiere of the musical provoked an overall mixed to favourable verdict from the critics and, according to Variety, created "one of the bigger West End mob scenes in recent memory". Most of the naysaying notices had comments ranging from "far too long" and "shallow, improbable story masquerading as a serious musical" from The Sunday Times to The Guardian's conclusion that, "A musical is only as good as its book, and here one is confronted by an inchoate mess."[35] Other newspapers posted rave reviews however. The Daily Telegraph wrote that the show was "gift-wrapped and gorgeous...compels admiration", The Times noted that "it turns out to be a fine piece of work that shows the dinosaur mega-musical evolving into an intelligent form of life" and Today called it "gripping, eye-catching.. nearly a major triumph".[citation needed] In addition, Michael Ratcliffe wrote in Observer that the "operetta plot which would have delighted a mature Lehar is dramatised in a buoyant, eclectic and stirring theatre-score" and called Körberg "the indisputable star of the show".[citation needed] Sheridan Morley in International Herald Tribune complimented the show's "remarkably coherent dramatic shape" and "staging of considerable intelligence and invention".[citation needed]
Plot summary
Act 1
The president of the
The opening ceremony features the American and Soviet delegates each vowing their side will win ("Diplomats"), the Arbiter insisting on a clean game ("The Arbiter"), and marketers looking to make a profit ("Hymn to Chess" / "Merchandisers"). During the increasingly intense match, Freddie suddenly throws the chessboard to the floor and storms out of the arena ("Chess #1"), leaving Florence to negotiate with Anatoly, Molokov, and the Arbiter ("Quartet"). Florence manages to arrange a meeting between the two players, after trading heated words with Molokov. It turns out that Freddie engineered the outburst in the hopes of extracting more money from his sponsor, an American
The chess match proceeds. Distracted by the loss of Florence's love, however, Freddie flounders, leaving himself just one more loss away from losing his title ("Chess #2"). Due to Freddie's atrocious attitude, Florence finally deserts him ("Florence Quits"), whereby Freddie ponders how his unhappy childhood left him the man he is today ("Pity the Child"). He sends the Arbiter a letter of resignation, resulting in Anatoly becoming the new world champion. Anatoly immediately defects from the Soviet Union and seeks asylum at the British embassy ("Defection" / "Embassy Lament"). Florence, accompanying Anatoly, reflects on their newfound romance ("Heaven Help My Heart"). Meanwhile, Walter tips off the press about this scandal. When the mob of reporters ambush Anatoly and ask why he is deserting his country ("Anatoly and the Press"), he tells them that he will never truly leave his homeland. ("Anthem").
Act 2
A year later, Anatoly is set to defend his championship in
Walter, now Freddie's boss, manipulates Freddie into embarrassing Anatoly on live TV during an eventually heated interview between them ("The Interview"). Molokov, who indeed is responsible for Svetlana's presence in Bangkok, blackmails her into urging Anatoly to throw the match. Walter, who has been promised the release of certain captured American agents if he can ruin Anatoly's performance, informs Florence that her father is still alive though imprisoned, and that he too will be released if she can convince Anatoly to lose. Despite Molokov and Walter's efforts, none of their ploys work to get Anatoly to throw the game. As a result, Molokov and Walter team up to get Freddie to personally persuade Anatoly and Florence, knowing that Freddie is vengeful toward Anatoly and interested in winning back the love of Florence; however, Freddie's attempts also fail ("The Deal").
Surprisingly, Svetlana and Florence end up bonding over their respective relationships with Anatoly. Florence ultimately admits that it would be best for Anatoly to return to his children and Svetlana, while Svetlana accepts that Anatoly has long fallen out of love with her ("I Know Him So Well"). Anatoly, meanwhile, follows an anonymous letter guiding him to Wat Pho, where Freddie appears to tell him that he is willing to put their conflict behind him. Having decided that he only wants Anatoly to "be true to the game", Freddie informs Anatoly of a significant flaw in Viigand's strategy that will help Anatoly win ("Talking Chess").
In the deciding game of the match, with the score tied at five games all, Svetlana castigates Anatoly for wallowing in the crowd's empty praise and Florence expresses similar annoyance with him for casting aside his ideals; regardless, Anatoly achieves a superb victory against Viigand ("Endgame"). Later, Florence confesses her feelings that he should return to his family in the Soviet Union. The pair reflects on the conclusion of their romance ("You and I: Reprise").
Epilogue
Walter later approaches Florence with the news that Anatoly has defected back to the USSR, meaning that her father will certainly be released. He startlingly admits, however, that no one actually knows if her father is still alive. Florence breaks down, realising that she too has been used, and she sadly mirrors Anatoly's earlier sentiment that her only borders lie around her heart ("Anthem: Reprise").
Original West End cast
- Frederick Trumper, The American – Murray Head
- Florence Vassy – Elaine Paige
- Anatoly Sergievsky, The Russian – Tommy Körberg
- Alexander Molokov – John Turner
- Walter de Courcey – Kevin Colson
- The Arbiter – Tom Jobe
- Svetlana Sergievsky – Siobhán McCarthy
- Mayor of Merano – Richard Mitchell
- T.V. Presenter – Peter Karrie
- Civil Servants – Richard Lyndon, Paul Wilson
- Tea Lady - Julie Armstrong
Songs
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† The multiple songs listed here are often merged on recordings into a single track.
‡ Song is alternately titled "U.S. vs. U.S.S.R."
§ This song actually originated with the American (Broadway) version of the musical, but has since been also included in productions and recordings otherwise adhering to the British version. Its placement varies; this is the placement used by the 2008 Royal Albert Hall concert.
American stage version
History of the original Broadway production (1988)
After the West End production, the creative team decided to reimagine the show from the top down, leading to a second major stage version of the musical intended for American audiences, with considerable differences from the British version in both plot and music. Trevor Nunn brought in playwright Richard Nelson to recreate the musical as a straightforward "book show" for Broadway audiences. Nunn brought in new, younger principals after he disqualified Paige from the role of Florence by insisting Nelson recreate the character as an American. The story changed drastically, with different settings, characters, and many different plot elements, although the basic plot remained the same.[citation needed] Benny Andersson told Variety: "The main difference between London and here is that in London there is only about two or three minutes of spoken dialog. Here, in order to clarify some points, it is almost one-third dialog".[citation needed] The score was reordered, and comparisons of the Broadway cast recording and the original concept album reveal the dramatic extent of the changes. Robin Wagner designed a new set, which featured mobile towers that shifted continuously throughout the show, in an attempt to give it a sense of cinematic fluidity.[citation needed]
The first preview on 11 April 1988 ran 4 hours with a 90-minute intermission (the stage crew reportedly had problems with the sets); by opening night on 28 April, it was down to 3 hours 15 minutes. But despite a healthy box-office advance, the Broadway production did not manage to sustain a consistently large audience and closed on 25 June, after 17 previews and 68 regular performances. "And there I was, on closing night, singing and sobbing along", later wrote Time magazine critic Richard Corliss.[citation needed] Overall, the show (capitalized at $6 million) since its opening, according to Variety, "has been doing moderate business, mainly on the strength of theater party advances".[citation needed] Gerald Schoenfeld, co-producer of the show, noted: "The musical had been playing to about 80 percent capacity, which is considered good, but about 50 percent of the audience have held special, half-priced tickets. If we filled the house at 100 percent at half price, we'd go broke and I haven't seen any surge of tourist business yet this season. The show needs a $350,000 weekly gross to break even, but only a few weeks since its April 28 opening have reached that.... You have to consider what your grosses are going to be in the future".[36]
The Broadway production was nominated for several major awards. It got five nods from the
Later, the musical developed a cult following based primarily on the score (Frank Rich noted in his book Hot Seat that "the score retains its devoted fans"), while Nelson's book received more mixed notices. Many attempts were made to fix the Broadway version's perceived problems.[citation needed] In 2001, in an interview with the San Francisco Chronicle, Tim Rice admitted that after the "comparative failure of Chess, his all-time favourite, he became disillusioned with theatre." He commented, "It may sound arrogant, but Chess is as good as anything I've ever done. And maybe it costs too much brainpower for the average person to follow it".[citation needed]
Critical reception
Many critics panned the show, most notably Frank Rich of The New York Times, who wrote that "the evening has the theatrical consistency of quicksand" and described it as "a suite of temper tantrums, [where] the characters ... yell at one another to rock music".[38] Howard Kissel of New York Daily News complained that "the show is shrilly overamplified" and "neither of the love stories is emotionally involving", while Newsweek magazine called the show a "Broadway's monster" and opined that "Chess assaults the audience with a relentless barrage of scenes and numbers that are muscle-bound with self-importance".
A few reviewers, however, praised it highly.
Richard Christiansen of Chicago Tribune suggested that "Chess falters despite new strategy", yet concluded his review: "Audiences forgive a lot of failings when they find a show that touches them with its music, and Chess, clumsy and overblown as it sometimes is in its three hours-plus running time, gives them that heart". Welton Jones wrote in The San Diego Union-Tribune that Chess "has one of the richest, most exciting scores heard on Broadway in years ... Sadly, the music has been encumbered with an overwritten book and an uninspired staging ... Truly, this is a score to be treasured, held ransom by a questionable book and production".
All critics agreed, though, on the three leading performances by Judy Kuhn, David Carroll and Philip Casnoff. They were showered with praise – "splendid and gallant" (Newsweek), "powerful singers" (The New York Times), "remarkably fine" (New York Post) – especially Kuhn, whose performance Variety called a "show's chief pleasure".
Benny Andersson commented in Variety on the negative Broadway reviews: "I really don't know why they don't like it. ... I do know that most of the audiences so far stand up and cheer for everyone at the end. They appear to get emotionally involved with the show, and they really like it."
Synopsis
The musical's American incarnation has noticeably different settings, lyrics, song orders, and a completely different Act 2 from the British version. In particular, in the American Chess the entire show is about one chess match, not two. Act 1 involves the first part of the match, which is held in Bangkok, Thailand, while Act 2 handles the conclusion, and is set in Budapest, Hungary. Also, the incumbent champion is switched in the American version (that is, to Anatoly Sergievsky rather than Freddie Trumper) as is the winner of the Sergievsky–Trumper tournament.
Prologue
In 1956, a
Act 1
Decades later at an international chess tournament in
The opening ceremony features merchandise vendors and Walter relishing in the tournament's money-making opportunities ("Merchandisers"); the American and Soviet delegates each vowing their side will win ("Diplomats"); and the beginning of the tournament's first round ("Chess #1"). When Anatoly begins eating yogurt during the match, Freddie accuses him of cheating before storming out of the arena, leaving Florence to negotiate with the tournament's Arbiter, Molokov, and Anatoly, eventually promising to retrieve Freddie ("Quartet"). Florence later scolds Freddie, and they fight about the tournament's politics until he viciously turns the argument toward her missing father ("The American and Florence"); alone, Florence begins to realize her need to abandon Freddie ("Someone Else's Story").
Instead of heading off to the Generous Sole restaurant for the reconciliatory meeting Florence has scheduled between Freddie and Anatoly, Freddie is sidetracked by the Bangkok nightlife ("One Night in Bangkok"), leaving Anatoly and Florence awkwardly alone together; however, they eventually embrace as romantic feelings arise before being finally interrupted by Freddie ("Terrace Duet" / "Who'd Ever Think It?"). Anatoly apologizes for the yogurt incident and Freddie returns to the match, but only after a hefty bribe. Distracted by the loss of Florence's love, however, Freddie flounders, finishing the most recent round with one win and five losses; one more loss will cost him the match (Chess #2). Furious, he blames his issues on Florence, who finally leaves him as he reflects on his stature ("Florence Quits" / "A Taste of Pity"). Florence contemplates her new freedom from Freddie ("Nobody's Side"), while Walter secretly arranges for Anatoly to defect from the Soviet Union to the United States. When a mob of reporters ambush Anatoly and ask about his newfound relationship with Florence and why he is deserting his country ("Reporters"), he tells them that he will never truly leave his homeland ("Anthem").
Act 2
Eight weeks later, everyone is in Budapest to witness the conclusion of the match between Anatoly and Freddie ("The Arbiter" / "Hungarian Folk Song"). Florence is elated to be back in her hometown, but dismayed that she remembers none of it ("Heaven Help My Heart"). Molokov offers to help her find her missing father and starts "investigating". Freddie, under protestations from Walter, is confident that he will win ("Winning"). Florence and Anatoly are now openly lovers, though their relationship is complicated by the arrival of Svetlana, Anatoly's estranged wife, in Budapest ("You and I"). Anatoly discovers that Molokov is threatening his brother's family to get him to return to Russia and begins to break down, losing a string of matches and leaving the score tied at five games all ("Freddie Goes Metal"). Molokov and Walter, interested in exchanging key individuals for their respective countries, collaborate to achieve their separate goals ("Let's Work Together"), and Molokov reveals to Walter that Florence's father is alive in Budapest, who in turn reveals this to Florence. Pressured by this information and the strain on her relationship with Anatoly, Florence turns to Svetlana for solace ("I Know Him So Well"). Anatoly, having heard the news of Florence's father, cannot focus on the match at hand, and so Florence asks Freddie for a postponement, but he refuses and breaks down on live television, reflecting how his broken childhood made him who he is today ("Pity the Child"). In the meantime, Molokov brings Florence to see a man claiming to be her father and the two joyously reconnect ("Father's Lullaby").
In the deciding game of the match, Anatoly resolves to ensure that Florence is reunited with her father. He thus chooses to recant his defection and makes a tactical error during the game. Freddie immediately takes advantage of the blunder and proceeds to win the tournament, becoming the new world champion ("Endgame"). Florence and Anatoly reflect on the conclusion of their romance ("
Epilogue
Florence is left alone to wait for her father when she is approached by Walter, who confesses that the old man is not her father, who is most likely dead. It seems that Molokov struck a deal with Walter that if the Russians managed to get Anatoly back, they would release a captured American spy; using Florence, they succeeded. Florence has now left Freddie, been abandoned by Anatoly, and lost the father she never had, realising that she too has been used, and she sadly mirrors Anatoly's earlier sentiment that her only borders lie around her heart ("Anthem: Reprise").
Original Broadway cast
- Frederick Trumper, The American – Philip Casnoff
- Florence Vassy – Judy Kuhn
- Anatoly Sergievsky, The Russian – David Carroll
- Ivan Molokov – Harry Goz
- Walter Anderson – Dennis Parlato
- Arbiter – Paul Harman
- Svetlana Sergievsky – Marcia Mitzman
- Gregor Vassy – Neal Ben-Ari
- Young Florence – Gina Gallagher
- Nikolai – Kurt Johns
- Joe and Harold (embassy officials) – Richard Muenz and Eric Johnson
- Ben – Kip Niven
Songs
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† This song appears on the Broadway cast album, but was deleted from production and is not found in the script licensed for production.
‡ This song features in productions, but it was not recorded for the Broadway album.
§ The titles here refer to the published score names of the songs. Several songs in the American version are identified by alternative titles. "Freddie's Entrance" is also called "What a Scene! What a Joy!"; "Argument" is called "How Many Women"; "Diplomats" is called "U.S. vs. U.S.S.R."; "American and Florence" is called "You Want to Lose Your Only Friend?"; "Florence Quits" is called "So You Got What You Want"; "Reporters" is called "Anatoly and the Press"; "Winning" is called "No Contest"; and "Freddie Goes Metal" is called "A Whole New Board Game".
Revivals, concerts, and recordings
1989: Carnegie Hall and Sweden
Soon after the show closed on Broadway, a concert version was performed in January 1989 at Carnegie Hall by the original cast in a sold-out benefit performance. In September of that year, Judy Kuhn, and two principals from the West End production (Körberg and Head), gave concerts of the musical in Skellefteå, Sweden, during the finals of the 1989 chess World Cup tournament.
1990s
The seven-month-long 1990 American tour acknowledged the ending of the Cold War. The tour starred Carolee Carmello, John Herrera, and Stephen Bogardus and was staged by Des McAnuff. Playwright Robert Coe worked with McAnuff on revising the show, mostly using the Nelson script and restoring most of the original song order from the British version of the musical and deleting the new songs written for the American version.[citation needed] A UK tour starring Rebecca Storm and mostly based on the London production, was a bigger success.[citation needed]
Once the
A 1990 production in Sydney, Australia, directed by
In 1992, there was a production directed by Rob Marshall staged at Paper Mill Playhouse. The production starred Steve Blanchard as the American, Judy McLane as Florence, Keith Rice as the Russian, David Cryer as Molokov, P. J. Benjamin as Walter, John DeLuca as the Arbiter, and Susan Dawn Carson as Svetlana.[42][43]
In 1994, Chess in Concert toured cities in Sweden. The songs and lyrics were largely identical to the original album, with the addition of "Someone Else's Story" from the American version and "The Soviet Machine" from the British version. The cast included Anders Glenmark as Frederick, Karin Glenmark as Florence, and Tommy Körberg as Anatoly. A concert performance at Eriksbergshallen in Gothenburg was recorded.
In 1995, a Los Angeles production at Hollywood's Hudson Theater received critical praise. It starred
In 1996-1997 elements of "Chess" were incorporated in the Russian Mossovet Theatre musical "Igra", along with other songs of Björn Ulvaeus and Benny Andersson, The Beatles, and other hits of 1960-80s. Russian lyrics were penned by Yaroslav Kesler, who also worked on Mossovet's staging of Jesus Christ Superstar. "Igra" in general was presented as follow up to the famous rock-opera and featured mostly same group of artists and producers, but survived just one season.[44]
2000 to 2009
A Danish tour began in 2001. The English-language version starred mostly British principals, directed by Craig Revel Horwood. A two-CD album was released, titled Chess: Complete Cast Album, the only major complete recording of the British version of the musical (plus the addition of the American version's "Someone Else's Story" for Svetlana in Act 2). The production also followed the British version of the plot, though later performances used a much shorter, trimmed-down version closer to the original concept album. The cast included Zubin Varla as Frederick, Emma Kershaw as Florence, Stig Rossen as Anatoly, Simon Clark as Alexander, and James Graeme as Walter, Gunilla Backman as Svetlana, and Michael Cormick as the Arbiter.[45]
A 2002 Swedish-language version, Chess på svenska, with lyrics and book by Björn Ulvaeus, Lars Rudolffson, and Jan Mark, attempted to streamline the story back to its original form and eliminate political aspects. It featured new musical numbers (Svetlana's "Han är en man, han är ett barn" ("He is a man, he is a child") and Molokov's "Glöm mig om du kan" ("Forget me if you can" from the demo song "When The Waves Roll Out to Sea")) and focused on material from the concept album. Cast members included Tommy Körberg, reprising his role as Anatolij, Helen Sjöholm as Florence, Josefin Nilsson as Svetlana, Anders Ekborg as Freddie and Per Myrberg as Alexander. It was filmed for Swedish television, and has been released on a Swedish-language DVD. It was nominated for eight national Swedish Theatre Awards Guldmasken, winning six, including Best Leading Actress (Sjöholm), Best Leading Actor (Körberg), and Best Stage Design (Robin Wagner). The cast CD "Chess På Svenska" peaked at number 2 on the Swedish album chart.[citation needed]
An Actors Fund of America Benefit Concert was given in 2003 in the
The Estonian production premiered in 2006 at the theatre Vanemuine in Tartu. The cast included Koit Toome and Gerli Padar as Freddie and Florence, respectively.
A concert version was presented in 2007 at the Ford Amphitheatre, Los Angeles, California, mixing the British and American versions. The cast included Susan Egan as Svetlana, Kevin Earley as Anatoly, Ty Taylor as Freddie, Cindy Robinson as Florence, Thomas Griffith as Alexander, and Matthew Morrison as the Arbiter. The concert was directed by Brian Michael Purcell. A portion of the proceeds went to Broadway Cares/Equity Fights AIDS.[47] A German-language version premiered in 2008 at Staatsoperette Dresden. It ran two seasons until 2010.[48]
In 2008, Heartaches and
In 2009, the first official Italian production (in Italian language) took place in Firenze, then replicated in Prato (2010), Campi Bisenzio-FI (2011), and Siena (2011). The cast included Alberto Putignano/Emanuele Nardoni as Frederick, Irene Vavolo/Alessandra D'Onofrio as Florence, Piercarlo Ballo as Anatoly, Ilaria Bongini/Giulia Gazzeri as Svetlana, Riccardo Andreoni as the Arbiter, Maurizio Capuana as Molokov, and Matteo Gazzeri/Marco Davide Toci as Walter. Direction by Piercarlo Ballo.
2010 to 2019
A Hungarian revival of Chess ran in 2010 in Budapest. This concert production closely followed the script of the Royal Albert Hall production of 2008, though the songs "Hymn of Chess", "The Merchandisers", "The Arbiter" (reprise) and "Talking Chess" were cut. It was produced by PS Produkció and directed by Cornelius Baltus. The Hungarian lyrics were written by Ágnes Romhányi and the choreographer was
A production directed by Craig Revel Horwood toured for 10 months in the UK, Italy and Ireland in 2010–2011. It was an actor-musician production, with 25 out of the 30 cast members playing instruments. Changes to the libretto included the removal of "Merano" and "Walter and Florence". The cast included James Fox as Frederick, Shona White as Florence, Daniel Koek as Anatoly, Steve Varnom as Alexander, James Graeme as Walter, David Erik as the Arbiter, and Poppy Tierney as Svetlana.[55] Mirvish Productions staged a Toronto run in 2011 at the Princess of Wales Theatre, following the UK tour, using most of the UK Tour cast with Tam Mutu taking over the role of Anatoly and Rebecca Lock as Svetlana. Changes to the libretto included the removal of "The Merchandisers".[citation needed] Another German version (with the songs performed in English) was produced by the Theater Bielefeld (Municipal Theatre Bielefeld) in Bielefeld, Germany in 2011–2012.[56]
A one-night concert was given at Lincoln Center, in New York in 2012, billed as Chess in Concept 2012: A benefit performance for the Actors Fund of America. The cast included Robert Cuccioli as Anatoly, Natascia Diaz as Florence, Drew Sarich as Frederick, and Tamra Hayden as Svetlana. This version returned to the original concept album for its musical structure, Tim Rice's original scenario, and incorporated virtually all of the British score. It was produced and directed, and the score was arranged, by Christopher Martin.[57]
A New Zealand production of Chess ran in 2012, in the
In 2012, the GöteborgsOperan (Gothenburg Opera, Sweden) ran the Swedish-language version, Chess på Svenska, under the direction of Mira Bartov. The musical ran until the Fall of 2013. The roles of Anatoly and Freddie were played by Philip Jalmelid and Christopher Wollter. Evelyn Jons played Florence and Nina Pressing played Svetlana.
East West Players staged a revival of the UK version of Chess with a multi-cultural cast in 2013 at the David Henry Hwang Theatre in Los Angeles, California, directed by Tim Dang. The production garnered a positive review from the Los Angeles Times.[68]
A South Korean production opened in 2015, with K-Pop stars
Porchlight Music Theatre presented Chess as a part of their "Porchlight Revisits" season in which they present three forgotten musicals per year. It was in Chicago, Illinois in May 2016. It was directed by Artistic Director Michael Weber, choreographed by Brenda Didier, and music directed by Jimmy Morehead.[71]
In 2017, a Swedish theatre group, UnderhållningsPatrullen, presented the Swedish-language version, Chess på Svenska, at the Kristianstad Theatre, with a premiere date of 23 September 2017.
A limited-run West End revival began at the
On 20 June 2017, Tim Rice announced that after a recent table reading, a revival of the musical with a restructured storyline will be staged on Broadway in late 2018. The production featured a new book penned by
2020 to present
Chess played at the Umeda Arts Theater Main Hall in Osaka, Japan (January 25–28) and at the Tokyo International Forum Hall C in Tokyo (February 1–9). Ramin Karimloo played Anatoly with Samantha Barks as Florence, Luke Walsh as Freddie, Takanori Sato as the Arbiter, Eliana as Svetlana, and Hideya Masuhara as Molokov. The ensemble included Megumi Iino, Hiroaki Ito, Takashi Otsuka, Kana Okamoto, Naoki Shibahara, Tatsunori Senna, Kota Someya, Tomohiko Nakai, Nanaka, Ai Ninomiya, Ami Norimatsu, Maaya Harada, Kan Muto, Daisuke Moriyama, Sayaka Watabiki, and Kiyoka Wada. THe show was directed and chroeographed by Nick Winston.
In February 2020, Oslo's Folkteateret began previews for a new production based on Chess på svenska. This was put on hold due to the COVID-19 pandemic, and finally opened on 24 August 2022. It starred André Søfteland as Anatolij, Espen Grjotheim as Freddie, Karoline Krüger as Florence, Marion Ravn as Svetlana, Øystein Røger as Molokov, and Elisabeth Andreassen as the Arbiter. On 7 July 2022, the production released a cast album.
On 17 October 2020, the first Russian production of Chess premiered at the MDM Theatre in
A semi-staged concert hall production toured Melbourne, Perth, Adelaide and Brisbane from April to June 2021.[82] A cut-down version of the general plot of the original London version, changes included the movement of "Someone Else's Story" back to Act One and "I Know Him So Well" before "The Deal". It was accompanied by a 26 piece orchestra and 40 person choir. According to the musical director's notes in the program, they tried to stay faithful to the sound, feel and spirit of the concept album, sourcing original keyboard and drum sounds. Although "semi-staged", it had a small set consisting of a chess board[83] with large pieces representing towns where the tournaments were held, and a dance ensemble, elaborate choreography and lighting.
A two-day concert based mostly on the London version was held at the Theatre Royal, Drury Lane on August 1 and 2, 2022. The show starred Samantha Barks as Florence, Hadley Fraser as Anatoly, Joel Harper-Jackson as Freddie, Frances Mayli McCann as Svetlana, Ako Mitchell as the Arbiter, and Craige Els as Molokov. The show largely followed the plot of the London version, but cut several songs and added "Someone Else's Story" before "Embassy Lament".
On 12 December 2022, a one-night benefit concert for the Entertainment Community Fund played at the Broadhurst Theatre.[84] Ramin Karimloo reprised his role as Anatoly, joined by Darren Criss as Freddie, Lena Hall as Florence, and Solea Pfeiffer as Svetlana. Bradley Dean, Bryce Pinkham, and Sean Allan Krill reprised their roles of Molokov, The Arbiter, and Walter, respectively. The script used was a slightly revised version of the Kennedy Center book, mostly expanding on Freddie and Anatoly. Anatoly's dissatisfaction with life in the Soviet Union was heightened to contemplating suicide and increased suspicion of Svetlana, and Freddie's schizophrenia was changed to undiagnosed bipolar disorder. A plot point was also added where Florence and Anatoly had already met and had a brief affair at a previous tournament in Rome.
The Muny Opera Theatre in St. Louis staged Chess as part of their 105th season from July 5 to 11, 2023. The cast featured Jessica Vosk as Florence, Jarrod Spector as Freddie, John Riddle as Anatoly, Taylor Louderman as Svetlana, Rodney Hicks as Walter, Tally Sessions as Molokov, and Phillip Johnson Richardson as the Arbiter. The production was directed and choreographed by Josh Rhodes. The production stuck mostly to the plot of the original London version, but moved several songs around and added some new dialogue scenes. The production was sponsored by the Saint Louis Chess Club and the World Chess Hall of Fame, both located close to the theatre.
Principal roles and casting history
Character | Original West End Production[85] |
Original Broadway Production[86] | First US National Tour | First UK National Tour | Royal Albert Hall | Kennedy Center
|
West End Revival |
---|---|---|---|---|---|---|---|
1986 | 1988 | 1990 | 2008 | 2018 | |||
Anatoly Sergievsky | Tommy Körberg | David Carroll | John Herrera | Maurice Clarke | Josh Groban | Ramin Karimloo | Michael Ball |
Florence Vassy | Elaine Paige | Judy Kuhn | Carolee Carmello | Rebecca Storm | Idina Menzel | Karen Olivo | Cassidy Janson |
Freddie Trumper | Murray Head | Philip Casnoff | Stephen Bogardus | Richard Barnes | Adam Pascal | Raúl Esparza | Tim Howar |
Molokov | John Turner | Harry Goz | David Hurst | Malcolm Rivers | David Bedella | Bradley Dean | Phillip Browne |
Svetlana Sergievsky | Siobhán McCarthy | Marcia Mitzman | Barbara Walsh | Linda-Mae Brewer | Kerry Ellis | Ruthie Ann Miles | Alexandra Burke |
Walter | Kevin Colson | Dennis Parlato | Gregory Jbara | Paul Haley | Clarke Peters | Sean Allan Krill | |
The Arbiter | Tom Jobe | Paul Harman | Ken Ard | Brett Forest | Marti Pellow | Bryce Pinkham | Cedric Neal |
Cast replacements
West End (1986-89)
- Anatoly: David Burt
- Florence: Siobhán McCarthy
- Freddie: Anthony Head, Peter Karrie
- Molokov: Kevin Colson, Eric Flynn
- Walter: Eric Flynn, John Turner
Main characters
Character | Voice Type | Description |
Anatoly Sergievsky | Baritenor, F♯2–A♭4 (B♭4 optional) | "The Russian": The champion from Soviet Russia—a troubled husband (and father, in the British and Swedish versions) who despises the propaganda and politics of the tournament, eventually deciding to defect from his homeland, even at the cost of deserting his family. |
Freddie Trumper | Tenor, B♭2–D♭5 | "The American": The champion from the United States—a self-absorbed, fame-and-fortune-seeking, short-tempered, bad boy , who either matures and aids Anatoly a year after his own defeat (in the British version), or remains selfish and wins the tournament (in the American version).
|
Florence Vassy | Mezzo-Soprano , E♭3–E5
|
Freddie's strong-willed second and possible paramour, who was separated from her presumably captured or killed father during the Hungarian Revolution of 1956; Florence feels strained by Freddie's brashness and falls in love with Anatoly, eventually becoming his mistress. |
Svetlana Sergievsky | Alto, F3–E♭5 | Anatoly's estranged wife who, under Molokov's machinations, tries to persuade Anatoly to return to his homeland and family; although upset at Anatoly's betrayal, she also understands that Florence has given Anatoly something she cannot herself. |
Molokov | Baritone, F♯2–G4 | Anatoly's conniving second who is apparently also a manipulative KGB agent; his first name is given as "Alexander" in the British and Australian versions and as "Ivan" in the American version. |
Walter | Varies[a] | A financial administrator in Freddie's delegation and seemingly a secret CIA agent; his surname is given as "de Courcey" in the British and Australian versions, and as "Anderson" in the American version. Absent in the concept album. In the revised 2018 script, Walter has no "cover" and is overtly a CIA agent.
|
The Arbiter | Tenor, B2–A4 | The coldly objective, no-nonsense referee of the championship tournament and also (in the British version and its spinoffs) the president of the International Chess Federation. In the revised 2018 script, this role is expanded as a narrator who "becomes" the arbiter during two chess matches. |
Differences between the major versions
Version | Notable plot differences | Notable song differences | Commercial recordings | Only this version includes | Miscellaneous notes |
---|---|---|---|---|---|
Original concept (released in 1984) |
|
|
|
| |
British stage version (premiered in the West End: 1986–1989) |
|
|
|
| |
American stage version (premiered on Broadway: 1988) |
|
|
|
| |
Australian stage version (premiered in Sydney: 1990–1991) |
|
|
None
|
|
|
Swedish stage version
(Premiered in Stockholm: 2002) |
|
|
|
|
Possible film adaptation
Tim Rice has always expressed his desire of adapting Chess for the big screen. In 2003, Kylie Minogue was in talks to play one of the two female parts. She met with Rice in Paris to discuss the script. Jude Law and Brendan Gleeson were discussed as male leads.[87][unreliable source?]
On 10 January 2022, on his podcast "Get Onto My Cloud", Rice stated that in addition to a possible Broadway revival happening soon, he hopes for a film adaptation to follow suit, in part bolstered by the recent success of the chess-focused Netflix miniseries The Queen's Gambit.[88][89]
Awards and nominations
Original West End production
Year | Award ceremony | Category | Nominee | Result |
---|---|---|---|---|
1986 | Laurence Olivier Award
|
Best New Musical | Nominated | |
Best Performance by a Leading Actress in a Musical | Elaine Paige | Nominated | ||
Best Performance by a Leading Actor in a Musical | Tommy Körberg | Nominated |
Original Broadway production
Year | Award ceremony | Category | Nominee | Result |
---|---|---|---|---|
1988 | Tony Award
|
Best Performance by a Leading Actor in a Musical | David Carroll | Nominated |
Best Performance by a Leading Actress in a Musical | Judy Kuhn | Nominated | ||
Drama Desk Award | Outstanding Actor in a Musical | David Carroll | Nominated | |
Outstanding Actress in a Musical | Judy Kuhn | Nominated | ||
Outstanding Featured Actor in a Musical | Harry Goz | Nominated | ||
Outstanding Music | Björn Ulvaeus and Benny Andersson | Nominated | ||
Outstanding Lighting Design | David Hersey | Nominated | ||
Theatre World Award | Philip Casnoff | Won |
Notes
- ^ Walter has typically been cast with baritones, but in the Broadway version he sings parts which demand a higher range, closer to Freddie's.
- ^
- "Commie Newspapers"
- "Press Conference"
- "Florence and Molokov"
- "Der Kleine Franz"
- "Chess #2"
- "Anatoly and the Press"
- "One More Opponent"
- "You And I"
- "The Soviet Machine"
- "The Interview"
- "Talking Chess"
- "Finale"
- ^ The original concept album's "Heaven Help My Heart" and "Pity the Child" are given Act 1 placements, and "I Know Him So Well" is moved to after "The Deal". "Story of Chess" now opens the show instead of being intertwined with "You and I" (now a reprise), and a new finale is added after. The first chess match (underscored by "Chess") now takes place in the middle of the opening ceremony instead of after "Nobody's Side". Freddie and Anatoly's argument in "The Deal" is cut to only the first verse.
- ^ Split into these separately titled songs:
- "Diplomats"
- "The Arbiter"
- "Hymn to Chess"
- "Merchandisers"
- "The Arbiter (Reprise)"
- ^
- "How Many Women" (a lyrical rewrite of "Argument" from the original concept album, here set as a Freddie/Florence argument instead of an Anatoly/Florence argument)
- "Someone Else's Story" (later included in most productions of the British version)
- "Hungarian Folk Song" (adapting a musical theme from the introductory segment of "The Interview" and the ending of "Soviet Machine")
- "No Contest" (adapting musical themes from "The Deal")
- "Freddie Goes Metal" (also adapting musical themes from "The Deal")
- "Let's Work Together" (adapting musical themes from "The Arbiter's Song," "Press Conference," and "One Night in Bangkok")
- "Lullaby" (adapting a musical theme from the finale of the British stage version)
- ^
- "Merano"
- "Commie Newspapers"
- "The Russian and Molokov"
- "Hymn to Chess"
- "Der Kleine Franz"
- "Embassy Lament"
- "One More Opponent"
- "The Soviet Machine"
- "The Interview"
- "The Deal"
- "Talking Chess"
- ^ Several songs received major lyrical rewrites, most prominently "You and I", "Mountain Duet" (here titled "Terrace Duet"), and "U.S. vs. U.S.S.R" ("dangerous and difficult times" become "optimistic and encouraging times"). "Endgame" is given a ground-up rewrite and restructured dramatically from its British counterpart. The songs "Story of Chess", "Freddie's Entrance", "Press Conference", "Merchandisers", "U.S. vs. U.S.S.R.", "Chess No. 1", and "Finale" are all shortened. "Quartet" is done as a series of duets followed by a complex fugue, rather than the round performed in the British version. "You and I" has a new verse written for Svetlana that includes a reprise of "Where I Want to Be". "Anatoly and the Press" and "The Arbiter's Song" feature new verses (the latter's originally written for the extended music video version of the song).
- ^ Most of the beginning occurs at a Bangkok hotel and immediately contrasts the romantic couples Freddie and Florence with Anatoly and Svetlana (the latter never appearing so early on in other versions). Otherwise, the main storyline is similar to that of the original British version, though with Freddie playing against Anatoly throughout.
- ^
- "Introductions" based on the music of "The Deal" is added near the beginning.
- "One Night in Bangkok" is sung by both Freddie and Anatoly, and placed near the top of the show, and the theme reoccurs throughout the show.
- "Chess" is only played in part, and then "Merchandisers" plays over the chess match.
- "How Many Women" is inserted in the middle of "The American and Florence"
- A slow foxtrot version of "One Night In Bangkok", called the "Cocktail Chorus" is used before "Terrace Duet"
- "Heaven Help My Heart" is used as the Act 1 finale, and ends with a brief reprise of "One Night In Bangkok". Correspondingly, "Embassy Lament" and "Anthem" are moved to the beginning of Act 2.
- A brief reprise of "One Night In Bangkok" opens Act 2.
- "Someone Else's Story" (sung by Svetlana) has new lyrics and placed in Act 2.
- The Anatoly/Svetlana verse "You And I" from the American version is used, and the chorus (sung by Anatoly and Florence) is inserted in the middle of "Someone Else's Story".
- "The Soviet Machine" is rewritten in a longer version focusing on the potential political impacts of Anatoly's defection.
- Freddie and Florence sing a short section of "The Deal" before "Pity The Child".
- "The Deal" includes reprises of "Someone Else's Story" and "The American and Florence", and a verse of "Let's Work Together".
- "Endgame" uses lyrics from both the British and American versions of the song.
- "You And I (Reprise)" is used as the finale instead of "Anthem".
- ^
- "Commie Newspapers"
- "Press Conference"
- "Difficult and Dangerous Times"
- "The Merchandisers"
- "Florence Quits" (parts are reused in the new lyrics to "The Deal")
- "Embassy Lament"
- "The Soviet Machine"
- "The Interview"
- "Talking Chess"
- ^
- Most of the songs are rewritten with new lyrics
- "The Story of Chess" (named "Historien om schack" in Swedish") is sung by Anatoly to his son instead of the Arbiter
- "The American and Florence" (Swedish: "Ungern '56") has an instrumental part halfway through that showcases the day Florence's father got taken away
- The original recording of "One Night in Bangkok" is played as dance music in a nightclub between "The American and Florence" and "Nobody's Side"
- "Someone Else's Story" (Swedish: "Inte jag") is sung by Florence
- "Mountain Duet" is called "Mote på en bro" (English: "Meeting on a Bridge"), and is sung as a press conference after Anatoly's defection
- "Argument" (renamed to "Florence lämnar Freddie" (English: "Florence Leaves Freddie")) opens Act 2 and is sung by Florence and Freddie instead of Florence and Anatoly
- The third part of "Endgame" (here called "Ni dömer mig" (English: "You Judge Me")) is placed early in Act 2, becoming an argument between Anatoly and Svetlana in their hotel
- "The Deal" (called "Vem kunde ana?" (English: "Who Would Know?")) is changed significantly, and is sung by Freddie to Anatoly and Florence as he expresses his anger. Much of the lyric is translated from "Florence Quits".
- "You And I" (retitled "Drömmar av glas" (English: "Dreams Of Glass")) opens with a long instrumental portion before anything is sung
- The final chess game uses only the choral opening to "Endgame", and is retitled "Capablanca"
- "You And I (Reprise)" is returned to its original concept album state, including "The Story Of Chess" in the middle
- Two new songs are included: "He is a Man, He is a Child/Han är en man, han är ett barn" (sung by Svetlana in Act 2), and "Forget Me If You Can/Glöm mig om du kan" (Sung by Molokov before the finale)
References
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- ^ a b "Bright Lights Dark Shadows: The Real Story of ABBA", Carl Magnus Palm, p. 471
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- ^ Chess paper mill playhouse
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- ^ Tim Carney August 24, 2012
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External links
- Chess at the Internet Broadway Database
- icethesite Archived 21 September 2010 at the Wayback Machine – Benny Andersson & Björn Ulvaeus news site, including West End and Broadway reviews of Chess
- Plot summary & casting breakdown
- Chess the Musical 2010
- "CHESS The Musical" by Edward Winter