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‘Chess,’ a Terrific Aaron Tveit, Lea Michele, Nicholas Christopher Electrify a Less Troubled Book
In all of the adventures of the musical Chess, from concept album to initial production in the West End (1986), to its Broadway premiere (1988), concerts, revivals, recordings and tours up to the present, there might be an object lesson in how to develop a winning book. The memorable score by Abba’s genius collaborators, Benny Andersson and Björn Ulvaeus will always resonate. But the musical with lyrics by Ulvaeus and Rice, and new book by Danny Strong may have alighted on the merry-go-round of success never to return to a troubled past. The musical currently runs at the Imperial Theatre until May 3rd.
In its current iteration, the Broadway revival, starring three powerhouses in the lead roles, makes Tim Rice’s idea about a Cold War musical more coherent and interesting. This seems especially so if one lived through the hell of President Reagan’s escalating nuclear arms race with the Soviet Union, and saw the 1983 TV movie The Day After (about nuclear annihilation). Watched by 100 million viewers in one sitting, the TV movie, also watched by Reagan, allegedly influenced him against continuing proliferation.
Strong’s book ties in to the arms race, SALT talks, CIA and KGB compromises, and a controversial, frightening event (Able Archer ’83). All become aligned with two chess matches and chess gambits played by the Soviets and Americans to enable communications during a dangerous time in the 1980s, when nuclear war seemed imminent and chess was used as a form of negotiation to save face and make deals (“Difficult and Dangerous Times”).
To frame the story, clarify the events with a through-line, and provide a critique, Strong presents this version of Chess through the perspective of an omnipotent narrator, The Arbiter, superbly played by Bryce Pinkham. Snapping his fingers to move the action, he introduces the players, as he selects and explains the events which the company enacts. Invariably, he shares his opinions. Accordingly, the characters subtly move around like chess pieces (the metaphor) in the Cold War game.
This is an important conceit that can be overlooked as one becomes caught up in the powerful music, well choreographed dances, and love triangle between Freddie (Aaron Tveit), Florence (Lea Michele) and Anatoly (Nicholas Christopher). We thrill to their sterling voices and the ensemble’s striking dances. Amidst the glory, the emotion and the angst, Bryce Pinkham’s Arbiter holds the Cold War musical together and gives it a new coherence. He dishes up humor and irony as he tosses off snarky one-liners that sometimes relate the events of the past to events in the present. In one aside he infers the US and NATO countries are in a second Cold War.
Accompanied by the ensemble, Pinkam’s Arbiter presents a wild and woolly number in which he introduces himself as a new character, and critiques his song (“The Arbiter”) with a confident, “I’m going to crush it.” Pinkham does “crush it,” then his character arbitrates the first chess match between Freddie and Anatoly. After the match Freddie’s Second, Florence, eventually falls out of love with wired Freddie (“Pity the Child #1), and into love with the depressive Anatoly (“Where I Want to Be”). The struggle for all to remain on an even keel against the backdrop of the spy games creates the musical’s tension and generates the fabulous songs.
In Strong’s book whether one agrees with the character’s attitude or not, Pinkham’s Arbiter presents clarity and the symbolism that the Soviets vs. the Americans “Cold War” was an overarching chess match containing a series of smaller chess matches between the players, even between Anatoly’s two love interests, his wife, Svetlana (Hannah Cruz) and Florence. Their powerful duet (“I Know Him so Well”), strikes gold in Act II. After Anatoly defects to England and lives with Florence, he plays against the Soviet champion Viigand in Bangkok (Act II), which underscores the frightening Able Archer 83 event.
In Strong’s version, the CIA agent Walter de Courcey (Sean Allan Krill), and KGB agent and Anatoly’s chess mentor Alexander Molokov (Bradley Dean), negotiate compromises and deals behind the scenes of the first match and the second. Of course, this is for the purpose of winning the larger game of chess which is a deescalation of nuclear weapons to insure the safety of the planet. Indeed, there were real chess matches between the countries, and Pinkham’s Arbiter infers this with his suggestion that some of these events are true. The video projections go a long way toward filling in the gaps in information and de-mystifying what happened during the time befor the Berlin Wall fell.
Chess is acutely, incisively directed by Tony-award winner Michael Meyer (Swept Away, Hedwig). Meyer stages many of the numbers with the concert style approach. Kevin Adams’ lighting design of blues, reds, purples, yellows, effectively dramatizes the dynamic between and among the specific characters, the Soviets and Americans, and the shift of settings, i.e. Bangkok in Act II.
David Rockwell’s multi-tiered scaffolding enhanced by neon and chrome gives the production a stark, period look which is softened for an intimate bedroom scene between Florence and Anatoly with minimal props. Video by Peter Nigrini enhances the historical background needed to provide context, i.e. the Hungarian Revolution, or add interest. Lorin Latarro’s energetic, at times mannered (“Difficult and Dangerous Times” ), at times wild, erotic (“One Night in Bangkok”), energetic movement and dance enhance the ensemble’s pivotal numbers. These reflect the stereotypical thinking of that time, the cold war policy and the feverish, hot, atmosphere in Bangkok where the second chess match is held.
Appropriately, the ensemble’s tailored, grey suits (Tom Broecker), reflect the somberness of countries at war with the threat of their antagonisms heating up. The leads in dark colors contrast with the ensemble, and Anatoly’s wife dressed in maroon “leather.”
The phenomenal score played by an 18-20 piece orchestra with Ian Weinberger’s musical direction, and Anders Eljas and Brian Usifer’s orchestrations power up the ballads, pop rhythms and near operatic ensemble numbers gloriously. Finally, the orchestra, carefully positioned onstage by the back wall, is always witnessed by the audience who engages with it.
The sexy “One Night in Bangkok” received applause of recognition by the audience with the first notes of the charted global hit song (1984-85), as the exotic dancers and Tveit rocked Latarro’s movements with mastery. The superbly performed numbers by Tveit (“Pity the Child #2”), Michele (“Someone Else’s Story,” “Nobody’s Side”) and Christopher’s “Where I Want to Be” and “Anthem,” sung with the ensemble, are show-stoppers.
Finally, as the games conclude and presumably the first Cold War is over, Pinkham’s Arbiter sings “One Less Variation.” Then, Tveit, Michele, Christopher, Pinkham and the company end with the warning lyrics from “Nobody’s on Nobody’s Side”: “Never stay (a minute too long), don’t forget the best will go wrong, nobody’s on nobody’s side.”
Chess runs 2 hours 45 minutes with one intermission through May 3 at the Imperial Theater. chessbroadway.com.
‘Moulin Rouge! The Musical’ Celebrates the Seductive Delights of the Iconic Venue in a Sumptuous Feast for the Senses
(L-R): Jacqueline B. Arnold, Robyn Hurder, Holly James, Jeigh Madjus in Moulin Rouge! The Musical, book by John Logan, Music Supervision, Orchestrations, Arrangements & Additional Lyrics by Justin Levine directed by Alex Timbers (Matthew Murphy)
The moment you enter the Al Hirshfeld Theatre, a paradise of sensuality embraces your soul and immerses you in the suggestion of hedonistic pleasure. Immediately, you are “eyes wide open,” moving along a course where anything is possible, even an after hours engagement with one of the male, female or transgender perfections of beauty, scantily but tastefully adorned, who saunter on the catwalks and peer out at you from the stage. Undulating rhythms and sensual music in this Bohemian, Paris, Left Bank cabaret/theater/dance hall soothe and allure. The luxurious red and gold appointments, the deep cherry and red velvet variegated stage curtains, the banquets, chandeliers, gleaming brass, the golden cherubim all whisper romance, sex, excitement and a whirlwind of indulgence. Whoever you are, you will be encouraged to understand that you can achieve your vision of an exalted life, a life where freedom, truth, beauty and love raise you above a bruising and squalid reality out there on the dark streets.
Danny Burstein in Moulin Rouge! The Musical, directed by Alex Timbers (Matthew Murphy)
This is the Moulin Rouge Club at Moulin Rouge! The Musical. Expect the finest in fantasy and escapism. If your intellect and imagination are ripe to receive, you will never be the same again! As you sense this revelation La Chocolat (Jacqueline B. Arnold), Nini (Robyn Hurder), Arabia (Holly James), Baby Doll (Jeigh Madjus), parade their “stuff” and throatily grind to the beats as they torch out “Lady Marmalade,” in an unforgettable opening number joined by the ensemble. This full throttle ignition is brilliantly conceived with grand style and prodigious effort by the creative team. My God, what a triumph!
(L to R): Sahr Ngaujah, Aaron Tveit, Ricky Rojas in Moulin Rouge! The Musical, directed by Alex Timbers (Matthew Murphy)
The production directed by the illimitable Alex Timbers, with a clever book by John Logan (based on the 2001 Twentieth Century Fox Motion Picture written by Baz Luhrmann and Craig Pearce, directed by Baz Luhrmann), with “to-die-for” music supervision, orchestrations and arrangements by Justin Levine is a towering majestical remembrance of what never was but might have been during La Belle Époque in Paris and specifically at the fin de siè·cle. From the on-point luxurious, sexy, ravishing costumes by Catherine Zuber to the energetic, aggressive, dance numbers choreographed by Sonya Tayeh, this musical is a non stop festival. “Bad Romance” is especially gravitating as a thrilling, energetic, “lemme consume your lips,” head to head, face-off with couples gyrating to the hot Lady Gaga song which thematically epitomizes the romance among the principal couples: The Duke of Monroth (Tam Mutu), Satine (Karen Olivo), Christian (Aaron Tveit), and the lesser lights: Santiago (Ricky Rojas), and Nini (Robyn Hurder), all of whom are sensational in voice, and character portrayals.
Karen Olivo Aaron Tveit in Moulin Rouge! The Musical, directed by Alex Timbers (Matthew Murphy)
Baz Luhrmann and Catherine Martin provided their creative services to the production which is an update of their ground-breaking, award-winning film Moulin Rouge (2001). And indeed, the basic arc of development inspired by a meld of characters and plots from Giuseppe Verdi’s opera La Traviata and Giacomo Puccini’s La Boheme remains with added tweaks of humor, phantasm and fun, delivered by incredible performances, perhaps the most preeminent charismatic, chameleon of of them all being the gobsmacking Danny Burstein.
The Company, Moulin Rouge! The Musical, directed by Alex Timbers (Matthew Murphy)
Burstein is a mesmerizing scene stealer. Amidst the splendiferous sets (Derek McLane), and shimmering, vibrantly lit (Justin Townsend), festivities, Burstein, as the club’s artistic owner/showman Harold Zidler, is the “God-like” host of confabulation. And he is damn good at it, in fact so adorable that we understand how and why Harold has kept his “chickens” together through thick and the current financially thin stage of the Moulin Rouge Club’s history. As Burstein’s Harold winningly controls our imaginations and guides the glory and spectacle, we willingly follow him believing he has our best interests at heart because to him there is no sin, no judgment. Within this space and for this night, we are free to be our fantasies.
Tam Mutu in Moulin Rouge! The Musical, directed by Alex Timbers (Matthew Murphy)
What this production does exceedingly well is reveal that the Moulin Rouge Club into which Zidler has put his heart, soul and every red hot cent he owes is an artistic production down to the lavish sets and well-heeled orchestra. And he and the ensemble live for this art. Thus, Burstein’s performance is a revelatory genius of Zidler’s dedication and desperation. Motivated by his craft and concern for his artistic family, his character’s steely sweetness is genuine, his charm and love is pure without oily ingratitude or predatory insidiousness. Above all he makes clear in the behind the scenes discussions with Olivo’s Satine, that his desire is to supply his patrons’ complete enjoyment so his company will survive and remain off the streets and away from the impoverished hellishness they all came from.
Moulin Rouge! The Musical, The Company, directed by Alex Timbers (Matthew Murphy)
Likewise, Satine’s love for Zidler and her company of friends and compatriots, one of whom is the great painter Toulouse-Lautrec (the very fine, grounded Sahr Ngaujah), reveals they understand the club’s liquidity is their life and happiness. Thus, Satine’s characterization is profound. She is the “read deal:” she is their salvation, their mother, their friend, their life-blood, their sacrifice. The sense of love and community among the ensemble is palpable so we believe Burstein’s Harold when he insists that Satine should “go to hospital,” as her friends insist as well. Without her, they are lost.
Karen Olivo’s Satine is a sensual, hot, earth-mother and high-class courtesan, experienced, wise, unmoved. She is not an ethereal beauty, but dominant, solid in will, though failing in flesh. She is a perfect symbol to represent what Harold’s artistic creation stands for, a lotus risen from the mud into full flower which will fade quickly. Olivo’s fullness of voice soars during her duets with Tveit’s Christian who is her equal in range, power and sensitivity. “The Elephant Medley” (the love song riff mash-up they sing in her boudoir as a “come-on” and “let-down”), that has been enhanced with additional numbers is just smashing.
Karen Olivo, Tam Mutu, Moulin Rouge! The Musical, directed by Alex Timbers (Matthew Murphy)
Her introduction by Zidler as the “jewel” of the Moulin Rouge Club as she descends on a trapeze singing the “Diamond Medley” symbolizes her ethos and the club’s centrality as a necessity in the hearts of a society at that time and perhaps for all time. Escapism is in; it always was and always will be. The more authentic the fantasy, the better. And Satine, like Zidler, are exceptional conveyors. Their importance is an equivalent to their patrons’ happiness. Thus, she is fitting as a timeless symbol of the club; their interwoven stories will always resonate and instruct with wisdom, which like a diamond shines but cuts.
Obviously, Logan’s book adapted from Luhrmann’s and Craig Pearce’s film, reflects depth in its simple story of artists attempting to survive in a carnivorous world, as they use their charms and love inducements to glean wealthy backers. And all goes well, until the artists are hoisted on their own petard of humanity, and they fall fatally in love, and others fall fatally in lust with them. As cultural icons, artists cannot be owned or even possessed. (a not so subtle message to philistines everywhere). Satine and Zidler belong to their art, themselves and the world, as Ngaujah’s Toulouse-Lautrec affirms despite The Duke of Monroth’s insistence that Monroth owns the club and all its performers. This is another intriguing theme. When art is put in the hands of philistine owners, it crumbles for they lack the talent, will and spirit to create. Instead, they should uplift the brilliance of creators like Zidler. He knows how to draw the crowds but lacks the finances to sustain the Moulin Rouge Club.
Ricky Rojas, Robyn Hurder, Moulin Rouge! The Musical, directed Alex Timbers (Matthew Murphy)
The scenes when Lautrec and the company rehearse and Mutu’s Duke attempts to assist are particularly to the point and humorous. Monroth’s ego gets in the way after he senses he has lost Satine to Christian. Yet, he is willing to keep her despite her lack of affection for him. And his jealousy rises to spoil the show, as Christian’s jealousy rises to provoke the Duke. Yet, the show must go on, but how? Satine, once more must “save the day,” but she is not immortal.
Aaron Tveit, Karen Olivo, Moulin Rouge! The Musical, directed by Alex Timbers (Matthew Murphy)
As rivals for her love and lust Tveit’s Christian and Mutu’s Duke are worthy. The intricacies of plot which involve Satine’s eventual love for the innocent and consumed Christian, and sexual enticement of the Duke are woven adroitly. Particularly delightful are Mutu’s mash-up of Mick Jagger’s songs (his “Sympathy for the Devil” could have gone on longer). And the conversion of lyrics to a male orientation for Rihanna’s “Only Girl” are hilarious. Mutu manages to be wicked but sexy and seductive. His intentions are insidious but he retains the exceptionalism of aristocracy that assumes privilege from generational wealth that goes back centuries. Importantly, it is the humor in Mutu’s depiction that keeps him interesting and edgy and not loathsome, which is in keeping with the comedic tone of the production.
As a keen and successful rival, Tveit expertly tweaks the humor related to Christian’s, creating his compositions in the funny scene when he first befriends Lautrec and Santiago. He does this with expert timing and together the three render their exchange into pure farce. His “Ohio” demeanor evolves by the conclusion from a “lad” to a man who “comes into his own.” He is every inch the authentic lover. His duets with Satine in which they both feed song refrains to each other are happily playful, suggestive and grounded. And in the delivery of his last songs, Tveit is amazing, heartfelt, sonorous. As a couple in a loving affair that grows into something more, Tveit and Olivo strike powerful resonances.
Nothing more can be lauded about Mouline Rouge! The Musical except that the sound design by Peter Hylenski was on point, balanced, targeted. I heard words from well known songs that I never “got” before, for example Katy Perry’s “Firework,” which Olivo sends into the heavens as a PURE WOW! Thus, I could greater appreciate the character development, the themes, symbols, the ironies, the true riches of this mythic production because the song mash-ups and medleys were crystal clear.
This is a Broadway show in the true spirit of New York City’s greatness. To see these performers, you should get tickets immediately and order another set to revisit a month or two out. I guarantee that seeing it again, you will note many other elements that you missed the first time around as you peel back layers. If you can’t see it again, some of the music is on YouTube. Check for updates.
The show runs with one intermission at the Al Hirschfeld Theatre on West 45th street. For tickets and times CLICK HERE.
The cast album is currently available for streaming at https://smarturl.it/MRtheMusical
CAROLE DI TOSTI 