Chess

Chess the musical is not unlike the game it depicts - deceptively and demandingly complex. The music is difficult, the movement requires focused and adroit choreography and its performers need both the acting and vocal chops to do its tension fuelled scenes and songs justice. A lot can go wrong in this production,and it can be hard to find the people needed to get it right. OSMaD found them, and have presented what is a powerful and consistently interesting production of a very challenging piece.

The set itself is unusual for an OSMaD production.  The orchestra is visible at the back of the stage, instead of in the pit,and this brings the audience closer to the performers - fully immersing them into the world of the play.  David Dare’s design is fairly minimalistic, with carefully spread white and black squares on the floor, similar to the well-known concept art of the original album. There are multimedia screens just above the orchestra which remind the audience where the action is taking place (Merano, Bangkok etc.) They also use these screens to show occasional close-ups of the action captured by onstage cameramen - this was pretty cool. 

Alan Burrows is the director and has inspired some meaningful performances from not only his leads, but also a highly talented ensemble. There is a sense that each movement has purpose and/or symbolism, which serves to heighten the drama and conflict within the main narrative.  Whilst the Russian and American do battle on the chessboard, the ensemble, dressed in black and white, utilise the entirety of the space, staring one another down, mimicking the moves on the board as the game(s) unfold. 

There were many highlights throughout the evening.  Di Crough has choreographed intricate and contrasting dance numbers, much of which should inspire a second viewing.  Her dance troupe display extraordinary acrobatic and technical skill,and ensemble members navigate the sometimes complex movement requirements with focus, poise and purposeful intent. These chorus members are to be very highly commended for their work in this piece. 

Martine Wengrow took on the musical direction - which was surely a colossal undertaking.  Her orchestra is outstanding and makes tackling the challenging score look easy.  Chess has some weird music; in one moment you’re playing dramatic ballads, the next you’re singing patter songs and pieces resembling something you’d find in well-known opera choruse. Then not a minute later you’re pumping out some mid-1980s ABBA inspired rock opera.  It is a testament to the adaptability and talents of Wengrow, her orchestra and the cast, that they are able to achieve the results they do, considering the confronting nature of these compositions.

Katrina Stanley’s attention to detail in the costuming did not go unnoticed, and added significant depth to the overall impact of the piece.

If you’re going to do Chess, you need a diverse range of highly skilled and sometimes unusual vocalists.  Nic Russ opens the production as The Arbiter and is an instantly captivating presence.  His opening number, ‘The Story of Chess', and electric version of the character’s self titled ‘The Arbiter', invigorate the audience early in the piece.

Robbie Medica has the difficult job of playing Freddie Trumper, the complex, high energy American chess grandmaster.  This is one of the hard to come by voices when casting Chess, requiring powerhouse rock opera  tenor vocals in some numbers, with a contrasting sensitivity in others.  Medica thrives and delivers a troubled, multifaceted and highly engrossing portrayal of this demanding role.

Ian Frost is a sly Walter de Courcey, and successfully contributes to the overall tension and conflict, particularly in his acting ability.

The role of Florence Vassey is truly Herculean.  Emily McKenzie is up to the task and is a force to be reckoned with, exhibiting the exceptional and versatile vocals required by this intimidating role.  Similarly, Candice Sweetman’s brief entry into the action as Anatoly’s first wife Svetlana Sergievskaya leaves a striking impression.

Owen Clarke as Anatoly Sergievsky delivers an astounding rendition of the musical’s perhaps most well-known and challenging piece, 'Anthem'.  Clarke demonstrates himself as an intelligent and highly trained vocalist, and at no point does his singing sound strained or squeezed.  This is a stunning voice.

Finally, Zak Brown is remarkable as the conniving KGB agent Molokov. Brown is faultless in his voice, gait and facial expression, generating a fascinating and unwavering characterisation of the untrustworthy Russian.  This world-class portrayal had a number of exhilarating moments, with his collaboration with the ensemble in ‘The Soviet Machine’ being the apogee of his performance, especially in its synthesis with Crough’s enthralling choreography driving the scene.

This is a unique opportunity to catch Chess the musical at its absolute best. Don’t miss it.

James Young.