Chess Returns to Broadway After 35 Years, Dividing Critics and Captivating Audiences
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After nearly four decades, the cult classic musical Chess has returned to Broadway, opening at the Imperial Theatre on November 16th to a wave of mixed, yet largely eager, reactions. The revival, a partnership with Chess.com, marks the first Broadway production of the show since its brief run in the 1980s.
A Cold War Love Triangle, Reimagined
The production, seven years in the making, features a revised book by Emmy Award-winner Danny Strong, known for his work on Dopesick and Empire. The story centers on a high-stakes World Chess Championship match between American grandmaster Freddie Trumper, portrayed by Tony Award-winner Aaron Tveit, and his Soviet rival, Anatoly Sergievsky, played by Nicholas Christopher. Caught between them is Florence Vassy, a Hungarian-born woman raised in America, brought to life by Emmy nominee Lea Michele.
The collaboration with Chess.com extended beyond promotion, offering members the unique opportunity to challenge virtual versions of the characters. Tveit himself admitted to a humbling experience, stating, “My bot absolutely destroyed me.That’s been really fun, as I have a lot of friends who have nothing to do with theater, who have played on Chess.com for a very long time. Having them play me and text me about it, and make fun of me, has been awesome.”
Critics Divided, Fans Enthralled
Critical reception has been notably split. As one reviewer from The new York Daily News succinctly put it, “This is the broadway show of the fall that some will claim to dislike and yet most everyone will enjoy, even if that has to be in secret.” Despite the varying opinions, a common thread among critics is praise for the show’s enduring score, penned by ABBA’s songwriting duo Benny Andersson and Bjorn Ulvaeus.
The Washington Post described the revival as “packed with bangers,” especially highlighting the iconic song “One Night In Bangkok.” However, the publication also noted that the attempt to imbue Chess with contemporary geopolitical relevance sometimes clashes with the show’s core, melodramatic narrative. New York Magazine‘s critic whent even further, declaring that “One Night in Bangkok” is “such a ridiculous rush that it pretty much justifies the whole project,” adding with characteristic flair, “I left my heart-and my wallet and my keys and my sobriety-in this Bangkok, and I’m okay with that.”
People Magazine offered another positive assessment, writing that “This Chess may still be a elaborate game, but with singing this good, the production lands a decisive victory.” Conversely, The New York Times offered a more lukewarm take, stating the show is “absolutely thrilling and parts are flat at best, aggressively dumb at worst.” The Guardian was particularly critical, awarding the revival two out of five stars and lamenting that it “wasting catchy ABBA songs.”
notably,audience reactions,as reflected by a 4.5/5 rating on Broadway.com after 64 reviews, are considerably more positive than those of professional critics. This disparity underscores the enduring appeal of Chess and its dedicated fanbase.
You can view clips from the show in this report by Broadway.com.
A Resurgence for the Game and the Stage
Regardless of critical debate,the return of Chess to Broadway after nearly four decades is a significant moment for both the musical and the game itself. The production’s run time is two hours and 45 minutes. Tickets are currently available at chessbroadway.com. The revival demonstrates the lasting power of a story that, despite its Cold War origins, continues to resonate with audiences today.
