The Mad CodgerSeeing #AvenueQ at the Brunish Theater, which I did not know existed. 20 years of going to the Schnitz and Keller, I don't know that I've ever been in this building.
#pdx #musicaltheater
#pdx #musicaltheater
2somethingI saw Chess on Broadway today. Let's start with the good stuff.
The score remains among my favorite of any musical. Every song is excellent, from the Overture all the way to "You and I." The only downside is there isn't time to include every great song from every past version of Chess, with perhaps the most notable exclusion being "The Russian and Molokov." I was surprised by the placement of several songs, notably placing "Someone Else's Story" anfter "Endgame," but they all worked.
The orchestra and cast were all spectacular, with the lead trio Aaron Tveit, Leah Michele, and Nicholas Christopher pulling me into a trance each time they sang. The picture of Lea Michele I had in my head before today was the girl on Glee, but she embodied Florence in a way that rivaled past stars Elaine Paige, Judy Kuhn, and Cassidy Janson. I'd likewise place Christopher in my top three Anatolys, along with Michael Ball and Tommy Körberg. I was a bit skeptical of him in the opening, but as he gets closer to Florence he opens up his emotions more, and he completely brought down the house during "Anthem" and "Endgame" Tveit, meanwhile, is far and away the best Freddie I have ever seen.
Danny Strong's new book gives Freddie bipolar disorder, showing him with manic episodes at the beginning of the story, and show a positive side to his relationship with Florence. We also see Freddie resent the pressure that comes from being a national champion since age 11. The changes give Freddie depth I have never seen in previous productions, and Tveit brings him to life with a physicality, voice, and movement that pulls me in. During a couple of songs, Tveit swung on bars in a manner reminiscent of what he did in Next to Normal while still singing. I wonder if Tveit talked with Alice Ripely about portraying someone dealing with bipolar disorder. When Florence and Freddie break up, it hits much harder than in any previous production I've seen, due to Freddie having more depth and excellent performances by Michele and Tveit. During "Endgame," Freddie sings some parts of the song that have traditionally been sung by the ensemble, and the difference in his portrayal from earlier productions brings a new energy to a song I've heard hundreds of times.
Strong also establishes that Florence and Anatoly already knew each other and expressed mutual attraction prior to the start of the show. Moreover, we are told four years pass betweet acts, giving much more time for Florence and Anatoly's relationship to develop, further increasing the tension when their relationship is threatened.
Hannah Cruz brings a jaded, cynical attitude to Svetlana that pleasantly surprised me. Also carrying over from the original Broadway cast is the reprise of "Where I Want to Be," sung by Svetlana and Anatoly. New to this production, Strong has Svetlana find Florence's weakness. Florence ultimately tells Anatoly he should go back to the USSR: Not because of her father, but so that his kids can have their father.
Now, let's move on to the stuff that is not as good. Bryce Pinkham's Arbiter is the narrator for the show, and he frequently speaks in a tongue-in-cheek humorous tone, with jokes that are at odds with the solemn authority The Arbiter projects during his epynomous song, as well as "Quartet" and "The Deal." The subject matter of the show is serious, and the main trio all deal with serious issues in a serious tone singing serious songs, only for the narrator to interrupt with jokes. Walter and Molokov also joke with each other, but this feels much more in keeping with their characters.
The creative team made efforts to keep the story relevant to audiences born long after the cold war ended, with mixed effects. One part I really liked was when Walter threatened Florence with deportation to Hungry. Less effective was when The Arbiter sarcastically mentioned politicians from the 2020s by name, which pulled me out of the story and into the present. I believe the story is sufficiently relevant to critique modern politics without needing to explicitly name any real contemperary politicians, and audiences are already going to think about one partuclar person due to Freddie's last name.
There were more scenes than usual of Molokov and Walter negotiating, and so I was surprised we didn't hear them perform "Let's Work Together" from the original Broadway production.
The song that gave me the most mixed feelings was "The Interview." The stronger relationships between the lead trio give a stronger payoff when they reunite on TV. But, as with the original West End production, Freddie only has a pre-recorded video of Svetlana. I believe this is a step down from the 2018 West End production, when Freddie surprises Anatoly by revealing Svetlana and her son are actually in the station in person. We ultimately don't see Anatoly's kids at all during the show, which weakens the ending in which his kids are the reason he returns to Russia.
But all my criticisms vanished from my mind as Florence and Anatoly embraced for the final time during "You and I." The score, cast, and orchestra make up for any faults I may find with the book for one of the most enjoyable Broadway experiences of my adult life.
#Chess #MusicalTheater
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