From Concept Album to Concert Presentation

Chess

Modeled on the Soviet Union’s authoritarian state, author George Orwell wrote his classic cautionary dystopian novel, Nineteen Eighty-Four, 35 years prior to that future date. Little did the author know how prophetic his story would be. Also set in 1984, at the height of the Cold War era, “Chess” is a cult musical about a high stakes chess tournament between two grandmasters. The show’s also a metaphor for the tension-filled political climate of that decade. Depicting a chess tournament between a Russian and an American, the musical becomes an allegory for the political manipulation between these two nations. Indeed, references to strategic moves and how two players try to outsmart and second guess their opponent makes the comparison between the game and the politics obvious.   

Freddy, a “bad boy” American chess champion, and Anatoly, a more reserved, but brilliant, premier player from Soviet Russia, are fiercely  competing on the world stage for the title of World Champion. Not only rivals at the Game of Kings, the story revolves around the men’s competition in a love triangle with Freddy’s second, Florence. She’s a lovely, smart, Hungarian-born American woman who loves them both. Freddie, the American chess champ, seems to be modeled after real-life rebel chess champ, Bobby Fischer; Anatoly, his Russian opponent, is most likely patterned after Russian chess master, Boris Spassky. To relate more of the plot would give away the musical’s dramatic arc. Suffice it to say that the love story succeeds against the world of a chess tournament and features a beautiful, hummable score.  

With music by ABBA’s Benny Andersson and Bjorn Ulvaeus and lyrics by Tim Rice, the show began life as a concept album that became a cult hit in the early 1980’s. In 1986 it opened in London’s West End as a rock musical. While the show was a hit across the pond, it failed to last more than two months when a much-altered version transferred to Broadway. Over the years the script has undergone many more revisions and in 2022 a benefit performance played on Broadway for one night only. Regional and international productions continue to spring up now and then, but “Chess” has never become a runaway hit. The problem is that it’s only the musical’s incredible pop-rock score that makes it stand out.

In addition to the opportunity of experiencing this infectious, rarely-produced pop-rock score live, performed by BrightSide’s talented ten-member onstage orchestra, and conducted by musical director Aaron Zimmerman, artistic director Jeffrey Cass has staged his dynamic production in the tradition of a kinetic concert. The staging is never static as in most traditional recitals. Instead, Mr. Cass blocks his cast to interact with each other, always moving in, out and all around the Madden Theater audience, while keeping most of the story staged center, in front of the orchestra.

 In addition to the score, the best reasons to see this production are its talented cast. Handsome Justin Miller is a standout in the role of Anatoly. This young, gifted actor/singer gets better and better with each role he undertakes, reminding Chicago audiences why he’s considered a treasure when appearing in the area. Mr. Miller doesn’t simply play the Russian chess king; he is the suave, sometimes aloof Anatoly through and through. From his subtle mannerisms and emotional nuances, to his rich, effortless vocals, especially the  finale of Act I, the beautifully soaring “Anthem,” Justin Miller gracefully takes audiences on a journey of discovery. But see him now at BrightSide because shortly Mr. Miller will be leaving the area, returning to his role as vocalist aboard the Seabourn Cruise Line. 

He’s matched both vocally and dramatically by the lovely and always superb Julie Ann Kornak, in what may be her finest role, to date. Both Ms. Kornak and Mr. Miller dazzled BrightSide audiences seven years ago in “The Bridges of Madison County.” Once again these two talented performers hold theatergoers in the palm of their hands. As Florence, Julie impresses in so many musical numbers, but none as poignant and pleasing as her Act I musical monologue, “Someone Else’s Story;” Ms. Kornak and talented Meg McGarry, as Anatoly’s wife, Svetlana, share the stage with “I Know Him So Well;” and Julie brings the play to an exquisite conclusion with her Act II number, appropriately entitled “Finale.” 

As Freddie, good-looking Michael Metcalf also returns to delight BrightSide audiences in yet another Tim Rice musical. He will be remembered as the more humble and likable title character of Andrew Lloyd Webber’s, “Joseph and the Amazing Technicolor Dreamcoat.” In this production, Mr. Metcalf fills the theatre with his gorgeous, trained voice, while strutting around the stage like a cocky, young Mick Jagger. With powerhouse songs like “Winning,” sung with BrightSide regular Jim Heatherly, as his agent, Walter, and his soul-purging, “Pity the Child,” Michael Metcalf shows why he’s a Chicagoland rock star. In fact, the actor will be playing the leading role in Mercury Theater’s upcoming production of “Jersey Boys.”   

The entire ensemble, in fact, fills the theatre with their energy and glorious sound. The musical also features the company rocking out the dance club hit, “One Night in Bangkok.” Kudos go to a commanding Edward MacLennan, as Anatoly’s manipulative Russian Second; Zach Gibson, as the enthusiastic Arbiter; Stan Austin as Gregor; and Andrew Buel as Nikolai.

In addition to being a clever metaphor about the Cold War, this show is really all about its music. After all, “Chess” began as a concept album and eventually found its way to the stage. Here it is in concert version, BrightSide’s fourth in their series. As directed by Jeffrey Cass, the production is precise and spirited. He utilizes every inch of the Madden Theater. American and Russian flags adorn the cabaret tables and hang over the performance space. Specific colored lighting effects help the audience recognize the chess moves; and the cast is costumed in blue, for the Americans, and red, to identify the Russians. Unfortunately the choppy, uneven script doesn’t totally complement the gorgeous score, but audiences will certainly enjoy the story as they fall in love with the music.    

Highly Recommended

Reviewed by Colin Douglas

Presented February 9-18 by BrightSide Theatre at the Madden Theatre, in the Fine Arts Center of North Central College, 171 Chicago Ave., Naperville, IL

Tickets are available in person at the box office, by going to www.brightsidetheatre.com or by calling 630-447-8497.

Additional information about this and other area productions can be found by visiting www.theatreinchicago.com.