Denver is lucky to have a company like Next Stage with the guts to mount otherwise untouchable titles such as “Recent Tragic Events” and “Assassins.” But Next Stage isn’t just fearless in the face of political hot potatoes. It also dares to serve up critically fried taters such as “Chess.”
This 1988 Cold War musical occupies a curious footnote in theater history. It was legendary director Trevor Nunn’s only Broadway flop, yet it produced the last showtune to become a crossover radio hit in 20 years – Murray Head’s deliciously garish “One Night in Bangkok.”
The world would really be no worse off if “Chess” were never brought to the stage again. It’s a dated and abrasive romantic triangle involving the world’s two greatest chess rivals. Yes, chess. Can you imagine that first pitch to producers? “We’re turning Boris Spassky and Bobby Fisher into romantic rivals – and setting it to dance!” The most quiet and contemplative of games as a rock opera? They might have called it “The Choreographer’s Nightmare.”
Of course, no one would call “Chess” quiet or contemplative – not with ABBA’s Benny Andersson and Björn Ulvaeus working with lyricist Tim Rice (“Evita”). Ridiculously long at three hours, but hardly quiet.
But shelving “Chess” would mean never again seeing at least four superb numbers – and that does not include “Bangkok,” a trashy, fun but incongruous tangent whose only purpose is launching the second act with energy.
Rather, not to see “Chess” would be not to see “I Know Him So Well,” a powerful duet between Anatoly’s lovers that is a great ballad. Or “Anthem,” Anatoly’s robust, patriotic first-act ender. Or Florence’s two softest numbers, “Someone Else’s Story” and “Heaven Help My Heart.”
But you have to put up with so much screaming and bickering, you’d swear Meatloaf helped write these lyrics. The New York Times’ Frank Rich said the 1988 Broadway staging was so loud, it may as well have been a musical about stock-car racing. “Pompous,” “pretentious” and “quicksand” were other words he threw in – which has not stopped “Chess” from developing pockets of cult popularity.
Mostly, never to see “Chess” would be never to see Next Stage’s passionate and ultimately winning new effort, which combines aspects of both the widely varying London and Broadway versions (director Gene Kato added the song “Merano” and rearranged the locations to open Act 2 with “Bangkok”).
And we would also miss two outstanding vocal performances – Janelle Kato as cranky Florence and Brian Hutchinson as moody Anatoly, whose “only borders lie around my heart.” Kato is as good as ever – and she has been good for a long time. And Hutchinson steps into the big leagues here with his strong, measured and mature performance.
The third member of the triangle is promising newcomer Joel Sutliffe, who plays the petulant ugly American Freddie with such toxic obnoxiousness, he would make Val Kilmer proud. Sutliffe is so close to great here, but his dauntingly wide vocal part often requires him to go far above his range. He’s hung out to dry, but his musical director could still save him with a few minor note transpositions.
This musical turns into an oversimplified political metaphor when Florence defects from one lover to another, and Anatoly defects more literally. That sets in motion superpower gamesmanship in which the three lovers become the pawns.
Gene Kato’s set design, patterned after a chessboard and simply adorned with game pieces and flags, clearly defines the dual games at play while starkly painting a black-and-white picture of Cold War politics. His five-piece band is smoking, though just loud enough that it often drowns out soloists.
The cast of 22 is bursting with intensity and sensuality. Terrific supporting performances are logged by Michelle Merz as Anatoly’s wronged wife, Svetlana, and especially the understated David Fletcher as Molokov, the KGB agent playing Anatoly like a marionette.
Whether you embrace “Chess”‘ thumping rock score or feel like its plot has outlived its usefulness, Next Stage will never be accused of ambivalence or mediocrity. That makes this effort worth seeing.
Theater critic John Moore can be reached at 303-820-1056 or jmoore@denverpost.com.
*** | “Chess”
MUSICAL|Presented by Next Stage Theatre Company|At the Phoenix Theatre, 1124 Santa Fe Drive| THROUGH MAY 13|7:30 p.m. Fridays and Saturdays, 2 p.m. Sundays, 7:30 p.m. Monday|3 hours|$17-$20| 720-209-4105 or nextstagedenver.com
