CHESS Previews — Page 5

MDWHIT57 said: "Any insight on Pity the Child Orchestration. I'm pleading for a return of the 1984 Guitar Solo at the end. Literally begging and pining for it. I know, I'm pathetic."

I don't recall a guitar solo at the end of Pity the Child. There is a guitar solo during the walkout after the bows. I don't have enough of a connection to the past productions to tell you if that's the solo you're pining for though!

Scarlet Leigh said: "Danny1984 said: "Absolutely loving what I am hearing so far - great to read so many positive reports.

Two questions on the set:

- Do those platforms the orchestra areon move up and down or are they static?

- Is there any automation of set pieces coming on from the wings or flown in from above; or is the set simply as you see it in the pics?"

The platforms are static, There is some automation in the VERY center section of a screen that slides in an out from above that they place video on occasionally. I actually think they could use it more and wish they have put the same on the other two sections and played a bit more with multi media on them as they do have a BACK screen but it's SO far back that the visuals there at times get lost behind the orchestra and are partially blocked from the balcony.

There is a trap door centerstage that is used for a few moments (a bed is raised up and down, Sveltana makes her entrance via is, and a platform near the end of the show that is used for a dance moment) but other than that the set is just some rolling benches that never leave the stage and 2 chairs used in one scene."

Thanks for describing!

it does sound more like staged concert territory!

MDWHIT57 said: "Heart.... broken. But I'll live.

In warfare we learn: Strategy without good Tactics is the slowest way to win a war. Good tactics without Strategy is the fastest way to lose one.

In CHESS I believe: Score without Book is a very hard sell in the 'musical theatre world.' But Book without Score is a sure disaster.

I watched recordings of the 1988 debacle. They TRASHED the Score and got way concerned about the Book. All they needed to do was create a Sung-Through musical based on the 1984 lyrics and music. It would have crushed to this day. There has always been enough musical material for this. They would have stood on their own even without going into a single detail about Florence's tortured daddy.

To win, all they had to do was walk it back. Now that the guitar solo from when "The American" explodes into self-pity after Pity the Child is removed (the most powerful part of the ancient and unsullied score,) I'm in despair.

Nevertheless, I'm stoked to get out there and see it from my obstructed view from the Mezzanine side. I know these people know their craft and have, at least under the constraints they've been given; and not being gifted with a time-machine have done something beautiful. And I'll have to be content with that.

Probably means I won't go twice though. Sad.

MDW"

I hope I'm wrong! I just don't remember a guitar solo. When I go into an unfamiliar musical blind, there are so many things pulling at one's attention.

Scarlet Leigh said: "Last night was very enjoyable! Is the new book great? No but if I'm being honest last night made me realize that I don't know is Chess NEEDS to have a great book. The star of themusical Chess IS the score. Ever. Song. Is. A. Banger. As long as you have the plot there to bridge the gap between the songs, this is the rarest of shows where I don't think it matters much what they are saying so long as it moves us to the next song. We get it. Cold War metaphor. Parallels today. Blah blah blah, now sing the songs!"

Which begs the question... why not just go back to the original London, almost entirely sung-through version? It ran three years (granted with an insane set design and staging back when that was a key reason to go to London musicals) and no one seemed all too bothered about the intricacies of the stories beyond the basic plot points until Trevor Nunn decided that he wanted to be able to start fresh for New York and not with the ideas he was left with from Michael Bennett...

EvaLupone said: "As for everyone calling it a “happy ending,” I find it hard to see it that way. Nobody really gets what they want. And if they do, they’ve already lost something huge. In a great negotiation, everyone feels like they’ve been screwed over, and I think that’s exactly how this show ends.l."

I call it a "happy" one more in comparison to the more traditional endings used in the past. It's a bittersweet happiness as everyone gets something in the end but it's not what they necessarily wanted. Yet they still all walk away with some kind of consolation prize.

Also, I might have missed it but I feel like they left out Anatoly finding out that Florence's father is still alive and his release is on the table. He just seems to know an makes a deal with that information? Did I miss him finding out that info or are we to assume Florence would have told him this at some point off stage?

But still, give me that "thinking they at least got something for their troubles only to find out they all really lost" twist. One last back stab before we cut to black.

@scarletleigh I completely get where you’re coming from and agree with you. My perspective was that no one was ever going to be 100% happy at the end. I thought the ending was nice but also heartbreaking, which the best ones always are!

Hmm, good point. I think it was just implied that he knew about her father. I don’t recall a staged conversation, but it’s possible I missed it too.

@ericmontreal22 Well said! As you can probably tell by my name, Evita is my favorite score. It’s a bit whiny at times (“Who the hell does the King of England think he is? Tea at some tinpot castle of his. What kind of invitation is that?”), but still so lovely. Thank you for the background now I totally get that it was more of a rock opera before and now feels more like a book musical. Either way, I love it! Haha.

Mary_Poppins said: "Marlothom said: "Having listened to the audio, it sounded like the only "riffing" Lea did was at the end of Nobody's Side because the chorus was VERY LOUD. Had she not "riffed" her vocals would have been drowned out."

Indeed, she gets mixed in too low at times. Got her a couple of bad reviews on Reddit because people can't distinguish between weak vocals and too little input gain at the mixing board or lack of proper gain riding.. Some sound engineers just get side tracked by all the complexities of such a mix and neglect most basic stuff.

And as someone who isn't too dogmatic or traditionalist about these matters: a tiny bit of reverb might also help.

So, Chess people, if you're listening..."

interesting you say this. I remember reading that for the first of the four Chess concerts in DC in 2018 that Benny and Bjorn didnt like the sound mix on the first show for similar reasons to what you point out here and complained about it but I dont know if it was worked out for the three remaining concerts.

Updated On: 10/16/25 at 05:18 PM

Fan123 said: "Interesting to read these recent comments about the book 'versus' the score. I was a little taken aback to read Danny Strong saying in this interview (linked by corninthesky earlier in the thread) that in previous versions of the show, "There were things that would happen too quickly, things where story would turn within song. So you couldn’t really pick up what had happened, because it’s buried in song lyrics." I thought... isn't it generally a good thing for songs in a musical to do the dramatic work of conveying changesand plot progression? It's not a hard and fast rule, but it did make me wonder a littleabout Strong's approach to this."

Right--I read that too and wondered... Where would Sondheim be if story couldn't "turn" within song? I don't think Kretzmer's lyrics for Les Miz are exceptional by any stretch, but think about how much story is conveyed all through lyrics in songs? I don't think (I hope) that Strong meant story should happen just in dialogue and then the song should serve to just restate that, but... And again, I guess some of this has to do with turning a sung-through work into a book show.

''I think this gets Lea Michele a Tony nom and maybe even the Tony. It could be her year.''

Assuming ''Evita'' comes next year, I suspect Rachel Zegler will be tough competition. That said, I'm so excited Michele is back on Broadway. What a shame the recent revival of ''Funny Girl'' didn't originally cast her as Fanny in the first place, so she should've been eligible for a Tony and won it for her tour de force.

Meantime, the curtain call from the first ''Chess' preview:

https://www.youtube.com/watch?v=Vhw3KgJbKfo

Updated On: 10/16/25 at 10:51 PM

rosscoe(au) said: "I’m actually a fan of the London book, that ending is thrilling. When Florence finds out she been a pawn and is left wondering if her father is alive or not. Did the book need some help yes. But the foundation was always there."

I fully agree.

Please not Rachel in Evita for the win! Evita is another no set and people running around in their undies

just a rehash of the Sunset presentation down to the HOLDING a note way to long for no reason and paint all over the male lead at the end (blood , paint whatever)

After 9 months of speculation about whether the Strong libretto would finally elevate this musical from cult-embraced concept that soars in concerts and plunges to earth once tethered to exposition-dumps and shouty break-up confrontations ... we're back to talking about how it's sung, and a reverence for original arrangements and unadorned vocals sells it. I've posited several questions that no one wants to address, serene that the beloved score has been well served by the gifted folk in the Imperial. I just want to point out: this is where we began, celebrating a standalone song cycle. Maybe the ultimate lesson will surface: leave the effing songs alone, move 'em downstage, back em with a good band, and a majority will be happy. We knew that 20 years ago, but okay.