Podcast Summary: Chess (Imperial Theatre, Broadway) - ★★ REVIEW

Podcast: MickeyJoTheatre
Host: MickeyJo (Theatre Critic and Content Creator)
Episode Date: December 4, 2025

Episode Overview

MickeyJo delivers a thorough and impassioned review of the highly anticipated Broadway revival of Chess at the Imperial Theatre. Renowned for his candid theatre criticism, MickeyJo goes deep on the show's reimagined script, questionable creative decisions, and the strengths and missteps of the star-studded cast, including Lea Michele and Aaron Tveit. His response is a mixture of disappointment and disbelief at the production's choices, underpinned by a genuine affection for the original material.

Key Topics & Insights

1. Show Background and Production Context

• History of ‘Chess’:

  • Chess first debuted in the mid-1980s with music by ABBA’s Benny and Bjorn, lyrics by Tim Rice.
  • Notably, it has experienced much reworking (in both UK and US contexts), rarely to lasting success.
  • The previous Broadway incarnation was short-lived, and New York has a reputation for distrusting the material:
    “New York, despite staging it in concert as frequently as humanly possible, seems never to have really trusted the show’s material.” (04:03)

• New Broadway Revival (2025):

  • The new script, completely rewritten by Danny Strong, is neither the Tim Rice nor the Richard Nelson version.
  • Cast features Lea Michele (Florence), Nicholas Christopher (Anatoly), Aaron Tveit (Freddie), Hannah Cruz (Svetlana).
  • MickeyJo was both excited and apprehensive, identifying as a (now open) “closeted Chess fan.”

2. Major Script and Structural Changes

Framing Device and Tone:

• The new production is narrated by the Arbiter (Bryce Pinkham), who immediately undercuts the story’s integrity:

  “The Arbiter… discredits [the plot] entirely by informing the audience very early on: ‘You’re going to think that most of this is ludicrous, but trust me when I tell you some of this stuff actually happened.’” (08:24)

• The allegorical undercurrent of Cold War tensions is replaced by the show suggesting the literal fate of the world hangs on the chess match's outcome—a “fundamental misunderstanding of the nuance of this material.”

  “The New Broadway revival tries to convince the audience that the actual events of the Cold War were decided by the winners of this particular chess game, with representatives from both nations trying to sway the outcome.” (08:24)

Clunky Exposition and On-the-Nose Narration:

• Subtlety is abandoned in favor of overt political gags and metatheatrical, fourth-wall-breaking commentary:

  “The narration… had a habit of saying the quiet part out loud, as the expression goes, and just literally delivering the subtext of the moment rather than allowing anything to be implied or suggested.” (12:41)

• Examples of cringe-worthy dialogue include:

  “Deep down, we are all KGB, even if we are not.” (12:41)
  “How’s my favorite KGB chess coach guy?” (12:41)
  “You’ve got CIA written on your forehead.” (12:41)

• MickeyJo remarks on the American framing:

  “Early narration suggests… this is a stando between communism and… democracy, which… isn’t exactly accurate, but feels like the single most American way to frame the political battle.” (12:41)

Character & Plot Changes:

• Past between Florence & Anatoly now established (a “One Night in Stockholm” Easter egg—nod to Sweden).
• Freddie’s (Tveit) issues with temperament and mania are exaggerated, while other complexities are flattened.

3. Cast & Vocal Performances

Lea Michele as Florence (17:04)

• Assessment: Miscast despite her undeniable talent.
• “She sings it capably. But there is something about the Florence material that just doesn’t work for her, either vocally or from an acting through song perspective. Nobody’s Side really didn’t land for me, and I love that song, and all I need is to hear it belted well.” (17:20)
• Observes that Michele, like Idina Menzel previously, is not suited to this role, but would have been a better fit playing Svetlana.
• Notes production styling doesn’t help:

  “I don’t know what this unstyled Kyle Richards Circus Season one of the Real Housewives of Beverly Hills wig is supposed to be doing for her on stage.” (19:48)

Aaron Tveit as Freddie (21:24)

• “One of the most sensational voices on Broadway,” but too inherently “clean” and “boyish” for the grittier, more jaded Freddie. (21:32)
• Compliments Tveit’s technical prowess (e.g., “Pity the Child”) but finds him dramatically miscast.
• “He can’t play sleazy, easy very well, so One Night in Bangkok struggles as a result… he struggles to inject angst... because it sounds so laid back at all times.” (21:43)

Nicholas Christopher as Anatoly (21:54)

• “A revelation… so good in this role as Anatoly… he could almost make his parts of the material work. His performance of Anthem… is a hell of a way to send an audience to intermission and probably the reason why most of them come back.” (22:07)

Hannah Cruz as Svetlana (23:29)

• Praised for bringing “energy and rage and passion that has been lacking from the apathetic performances of the first act.”
• Her new song is “thoroughly characterized,” if not as strong as classic material.
• “She brings such a force and a wrath as a woman scorned like whom hell hath no fury.” (24:00)

Supporting Cast / Ensemble & Arbiter

• “Bryce Pinkham is, you know, trying really hard. He is doing good work with the material that he has been given. It’s not his fault that it’s dreadful and that he is, if not twerking, then dropping it like it’s hot during this number.” (26:54)
• Supporting cast are “capable,” but hampered by direction and writing.

4. Direction & Creative Decisions

Director: Michael Mayer

• “I also got no sense of what this production’s identity aspired to, what it was trying to be.” (28:40)
• Set design by David Rockwell compared to “Chicago”—numerous business-suit numbers, monotonous costuming:

  “The ensemble [wears] business suits… This show has had three of those by intermission. And I promise you, nobody ever wants more than one in a Broadway show.” (29:17)

• Liked the use of “enlarged IKEA kallax shelves with alternating giant chess pieces… and nuclear missiles” as set pieces, albeit “a little obviously.” (30:05)
• Criticizes the handling of key songs and staging (e.g., “One Night in Bangkok,” chess matches) for lacking emotional or visual coherence.
• Points out moments of unearned or meaningless ballads and shallow character relationships.
• Quotes lampooning the tone:

  “The Cold War. The first one, that is. Which, you know, where’s my chess timer? Your move, America.” (33:56)

• Did not “really love the neon Chess logo that came in and out… made me feel like I was looking at Canva.” (34:11)

Notable Quotes & Memorable Moments

• On the new framing:

  “There is the world of difference between a show that is telling us that these chess matches were taking place during the Cold War… versus [one] which tries to convince the audience that the actual events of the Cold War were decided by the winners of this particular chess game…” (08:24)

• On disappointment as a critic:

  “The worst thing I can ever be is disappointed, especially when it’s material that I care about and had higher expectations for.” (34:36)

• On the reworked version:

  “I cannot impress upon you how important it is that this reworked version of Chess is not produced elsewhere after this run. It represents such an epic misinterpretation of the show…” (34:49)

• On bias and open discussion:

  “If you want to go and see Chess on Broadway, do not let me dissuade you, but I am here to tell you that it’s not a particularly great show. If it matters to you to finally get to go and hear Lea Michele or Aaron Tveit singing… you are welcome to do that, but you’re going to walk off… talking about how talented Hannah Cruise and Nick Christopher are.” (35:40)

Section Timestamps

| Segment | Timestamp | |---------------------------------------------|------------| | Opening & Background | 01:49–04:03| | Origin and Plot of Chess | 04:03–08:03| | Major Creative / Script Changes | 08:03–17:04| | Cast Performance Reviews | 17:04–27:33| | Direction & Design | 28:40–34:36| | Final Verdict & Reflections | 34:36–35:59|

Takeaway

MickeyJo’s review is one of intense frustration and disappointment. While he acknowledges glimmers of talent—especially from Nicholas Christopher and Hannah Cruz—the 2025 Broadway revival of Chess is, in his view, a creative misstep. The rewritten book fatally misunderstands the essence of the original show, the production choices undermine any sense of seriousness or stakes, and the marquee casting of Lea Michele and Aaron Tveit ultimately misfires. Still, MickeyJo invites discussion and different opinions, encouraging listeners and viewers to weigh in with their own Chess thoughts.

“I would honestly caution you against going to see the show because that was my perspective before I arrived and it thoroughly frustrated me… but do share your own thoughts…” (34:50)

In summary:
A misjudged, muddled, and joyless retelling—MickeyJo doesn’t just pity the child, he pities the audience, and passionately argues for safeguarding the spirit of Chess from further well-intentioned, but misguided, reinvention.

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