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MickeyJoTheatre
why CHESS is closing early on Broadway | the reason the revival will end when Lea Michele leaves
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Mickey Jo
One of the few things that I've learned from playing chess is that after you lose your queen, the game itself tends to very quickly follow. And in the game of Broadway versus the new revival of Chess at the Imperial Theatre. Unfortunately we just arrived at Checkmate. Yes, I bring you breaking Broadway news because it has just been announced that Chess will conclude its run at the Imperial Theatre in a few weeks time. This is the latest post Tony Awards casualty following the closure of Beaches and could be the first show to close after the Tony Awards themselves in June. The news could also be described as a significant shock, but not necessarily. For those who have been closely paying attention, let me tell you why as I reveal a little more about why Chess is closing on Broadway. But just before I do, a quick introduction to me for those of you meeting me for the first time. Oh my God. Hey, welcome to my theatre themed YouTube channel or hello to those of you listening to this on podcast platforms. My name is Mickey Jo and I am obsessed with all things theater. I am a professional theater critic, content creator and pundit here in the uk. I also travel to New York a few times every year to see as many Broadway shows as possible. It was towards the end of 2025 that I saw Chess at the Imperial Theatre. You can check out my review wherever you are, seeing my face or hearing my voice, and as well as reviewing shows that I see around the world and creating vlogs about those trips in the process. One of the things that I have become perhaps a little notorious for on the Internet is delivering these post mortems about their closures. Hence here I at literal Half past midnight, wearing the funereal bucket hat of Imperial Theatre flops past and 23 minutes ago at midnight here in the UK 7pm on the east coast of the United States, it was officially announced via press release that Chess on Broadway had set its final performance date for Sunday, June 21st. And my thoughts, as always, immediately are with the cast and crew, everyone working inside and beyond the Imperial Theatre on this production whose livelihoods will be affected by this news and by this closure. By this point, presumably everyone in the production has read this news or perhaps had it read to them. Okay, you know what? That was a cheap joke and I'm not proud of it. I am, however, proud enough of the opening joke with the Chess timer that I'm just going to leave it all where it is. As always, I'm going to be sharing my thoughts and insights with you. There is plenty to discuss about this recent run of Chess on Broadway, as well as Chess's wider Broadway history and its ongoing theatrical viability in the United States, especially in moments of political turbulence. But additionally, and as always, I am hugely intrigued about your perspective. Please share all of your thoughts about Chess and its closing announcement in the comments section down below. Certainly there were plenty of comments the last time I spoke about Chess here on social media, when I shared my own thoughts about this revival. And I don't want to be classless enough to say I told you so at a time like this. At least not until I found out if there's more Chess terminology that I can use in order to do so. If you enjoy listening to my thoughts and would like to hear more of them about all things Broadway and theatre around the world, make sure to subscribe here on YouTube or follow me on podcast platforms in the meanwhile time. Why is Chess closing on Broadway? So here is the press release. I've shared the headline with you already. Chess on Broadway Sets Final Performance date for Sunday, June 21st immediately. That is an auspicious date. Not only is it a few weeks out from now, it's a few weeks after the Tony Awards but it was also the final scheduled performance of opening leading lady Lea Michele. She was set to depart the show and she was going to be replaced by by JoJo, the recording artist. JoJo, not to be confused with Siwa. I think that every single time and though I would be not excited but perhaps intrigued to hear her rendition of Nobody's side, It's the other JoJo that we are talking about who sadly will now presumably not get the chance to play Florence in this particular production. I had sort of assumed that the plan was going to be that Lea Michele would come back to the show and she was taking a few months off similar to how Darren Criss did with maybe happy ending before going back into it. She is also a parent of young children. All of that is obviously now moot, as are I dare say the positive review quotes that they have included at the top of this press release before delivering the news that the five time Tony nominated production of Chess will play its final Broadway performance Sunday, June 21, 2026 at the Imperial Theater. We have more positive things said about it afterwards as if that's going to make a difference. The twice extended record breaking new production of Chess, for whom you know the bar is low, I'll say that much, will play its final performance on Sunday, June 20at Broadway's Imperial Theatre after over 250 performances. That's nothing to shake a stick at. Starring Aaron Tveit, Lea Michele and Nicholas Christopher, whose collective vocal power we're still on the quote. Whose collective vocal power is so striking it may very well be the best heard on Broadway right now. I don't disagree with that from People magazine and they're keen to remind you that you can head to chess broadway.com that's www.chessbroadway.com for tickets to the final four weeks of performances. Often when these closing notices come around, they can a lot more last minute. So it's positive for the cast, for the crew and for the fans that everyone is going to have four final weeks in order to take stock of the production as it is and also the chance to enjoy it. Now we're going to return to those stats in just a moment because we have to compare it with Chess's original Broadway run, which it has in all fairness exceeded. But before we do, a little more information here. Chess is nominated for five Tony Awards including now pay attention to this. Best performance by a leading actor in a Musical for Nicholas Christopher, Best performance by a featured actor in a musical for Bryce Pinkham, Best performance by a featured actress in a musical. That's for Hannah Cruise, Best orchestrations for Brian Youssefher and best lighting design of a musical for Kevin Adams. The new production was nominated for the Drama Desk, Drama League and Outer Critics Circle awards for outstanding revival of a Musical and received three Chita Rivera Award nominations. That's awards specializing in dance, including outstanding Choreography for Lauren Lotaro and outstanding ensemble in a Broadway Show. Noticeably, the award that it was not nominated for this season was the Tony Award for Best revival of a musical, which was the highest honour it could have hoped to achieve. Sadly, the show not even being nominated could be considered one of the nails in its coffin. But we're going to talk about the Tonys in just a moment. Before we do, we have a quote here from producers Tom Hulse. I always forget that Quasimodo is a lead producer on this production of Chess, as well as Robert Aarons and the Schubert organization, who said we are immensely proud of the extraordinary work this cast and creative team have done in real reimagining Chess for a new generation of theatre goers. It is certainly that, while honoring the passionate fans who have championed this musical for nearly four decades, to see longtime fans and first time audiences alike embrace this production so wholeheartedly has been incredibly rewarding for everyone involved and a powerful reminder of why Chess has endured for so many years. And if by endured you mean it continues to exist but is infrequently produced in the United States, then I suppose that much is true. I will concede though, that is very nice. What they said about the longtime fans and the first time theatre goers discovering it anew sitting side by side. That's a very nice image. The opportunity to witness Aaron Tveit, Lea Michele and Nicholas Christopher perform this legendary score by Benny and Bjorn and Tim Rice alongside a company filled with some of Broadway's most remarkable talent is something that will stay with audiences long after they depart the Imperial Theater. Bringing Chess back to Broadway for the first time in nearly 40 years has been an enormous privilege. When are we going to get the next chess revival? 20. Well, 2066 I suppose. I will be 70 and the entire cast will be AI. Where did I get to bring Chess back to Broadway for the first time in nearly 40 years has been an enormous privilege and we are extremely proud of everything this production accomplished during its historic Broadway run. And on the subject of historic, let's take a look at some of those statistics. So earlier we said what, 250 performances? Over 250 performances. Let's go to Playbill, who are always very good at getting the exact numbers right. And they would be, you know, they distribute the playbills and. Right. I was in a news article from Logan colwell block for playbill.com they point out as of the final performance, the revival will have played 34 previews and 241 performances. So including the previews, that's over 250. I think that counts. Making it wildly more successful than the musical's original 17 preview and 68 performance run. Yeah, that did somewhat obliterate the existing record that there was for Chess. Is it the longest running production of Chess globally? I don't believe it is because I think the original West End production ran a little longer, plagued as it too was with problems of its own. Yes, chess premiered in May 1986 and closed April 1989. So the better part of three years. And obviously that isn't a sole indication of artistic merit. But one of the things that I have been sort of, I feel like I've been screaming it for the past few months is that the original London version of Chess that Broadway has never really trusted in terms of its material, it has always to some extent been reworked for the Broadway stage is perhaps still one of its best iterations. Not the best necessarily, but there is so much of it that I think was just always stronger before those reworkings. Speaking of those reworkings, this new Broadway production of Chess had a new book by Danny Strong. But that was not the only reworked element because every time there is a new major production of Chess, it seems to be a. A slightly different iteration of it. But this new book from Danny Strong made noticeable tonal and plot and structural changes also. Let's have that Tony Awards conversation now. Was not nominated for best book of a Musical, though it was technically eligible, which is some indication of how the Tony Awards felt about Chess. And when we talk about Tonys and the lifespan of a show, they are very relevant because so many productions, not Chess, interestingly enough, choose deliberately to open in the spring so that they only need tread water for a few weeks before the Tony nominations are announced in early May. Then there's another five or six weeks until the Tonys are presented in June. And for a struggling show or one that needs to be afforded a certain amount of validation or accreditation by a major award win, winning best new musical, best revival, one of those big catego can be a real lifeline. Hence them trying to stick around for the Tony nominations and subsequently the awards themselves. But I have always said there are only so many Tonys that can really give you ongoing staying power on the Broadway stage, and the ones that Chess has been nominated for don't seem likely to be able to do that. If Nick Christopher were to win for Best Leading Actor in a Musical, very possibly more people would be buying tickets to go and see this performance. However, Chess, also being not nominated for Best Revival of a Musical does not have the opportunity to perform on the Tony Awards broadcast. Now. Occasionally shows that aren't nominated in those two big categories do still pay for a performance slot. Perhaps it was telling in the weeks, the days even before Chess made this announcement that they had elected not to. I think Book of a Musical would have been some indication of the quality of Chess's material, but certainly the categories that it needed were Best Leading Actress in a Musical for Lea Michele, inarguably the show's most major box office selling point, as well as Best Revival of a Musical. It not getting that Tony nomination, I think was to some degree fatal. And none of that would matter if it weren't for the fact that Chess needed some kind of stamp of approval, artistically speaking, in order to sustain itself on Broadway. And that is because it's not a hugely commercially viable title. It was trading on its star power from the very beginning and some sense of nostalgia. For various reasons, the nostalgia waned as the production ran on. We're going to talk more about why that was, but what seemed to be much of the marketing approach for this production was to emulate the recent success of another flop turned hit, Merrily We Roll along, which played not too long ago at the Hudson Theatre in another reworked production that managed to really redeem the show's history as a wildly short lived Broadway flop back in the 1980s. Sound familiar? Heck, it even featured a leading trio of Broadway stars. And so once it was abundantly clear that Chess was never going to win the Tony in the same way that Merrily had, the show's marketing team were then never going be able to write the final chapter of the story that they were trying to sell. The signs that this was going to be the case, though, had begun to emerge for a little while. Let's back up a little bit and talk about when Chess started to struggle on broad.
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Mickey Jo
port way. Now the challenge with Chess began with the original production decades before this revival, and it's always going to be something of a hard sell, especially to a New York audience. And the show, if you don't know, depicts a fictionalized Cold War era chess match emblematic of the international struggle at play between the US and the ussr, in which representatives of each of those nations find themselves in both an intense chess tournament as well as a love triangle. In the original West End production, the protagonist Florence Vass Massey, who is the romantic interest of both Anatoly Sergeyevsky and Freddy Trumpa, is British. And that's kind of the British audience route into the story. When it goes over to America, she becomes American. But also they are suddenly one side of this, and there are plenty of other details that motivated the show's original Broadway collapse. But inherently it's arriving on Broadway in the mid-1980s, depicting US USSR tensions and an American audience, I think is always to some degree going to struggle with that. I think think in 2025, 2026, they continue to struggle with that. And I think that's one of the main reasons why Broadway and US productions generally seem unable to trust the material of Chess. It always has to be warped somehow, there always has to be a home team advantage, some kind of a spin on it. There's a throwaway line in the newly written book for this production that holds up communism against democracy, which makes it clear enough the kind of story that we're trying to tell, an even handed depiction of the tension between two power it is not. And while obviously the Cold War ended a long time ago, depending on who you ask, and Chess is set more firmly in the past rather than the recent and ongoing history, it once again is not a great time to try and sell an audience a story about international tensions. Not when we find ourselves on the global stage living through an ever increasing quantity of them. And without that, you find yourself suddenly without much real substance to sell in terms of the story and the narrative and the greater meaning of Chess. So all you can resort to is, well, these voices singing songs just sound fantastic. And that isn't persuasive enough for audiences on Broadway, who can find that on almost every street in midtown Manhattan at one show or another. Only those shows are also going to make you laugh, think and or feel things. Admittedly, though, when Chess announced that it was returning to Broadway and began performances at the Imperial Theatre last year, the box office initially was doing very well. It was amidst a relatively slow beginning of the season, especially for Broadway musicals, alongside Ragtime transferring to Lincoln center, but also Two Strangers Carry a Cake Across New York and the short lived Queen of Versailles. And what Chess was selling in those early moments was a combination of Broadway centric star power in the form of fan favorite leading man Aaron Tveit, but particularly household name and Glee alumna Lea Michelle, whose public perception has admittedly been up and down over the last decade, but who was very celebrated on Broadway not too long before replacing in Funny Girl at the August Wilson. The other thing they were selling alongside that was nostalgia and Chess being that little bit older than Ragtime and being less frequently seen on Broadway. There had been another ragtime revival in 2009. They had a little bit more to offer in terms of a throwback. Not that Chess has always been the most wildly popular thing, especially with US audiences. It and its songs are, I feel, more widely known in the uk. The problem with trying to sell nostalgia, though, is that later in the same season there was always going to be a slightly more nostalgic show on its way. And by the spring, the Rocky Horror show had begun performances at Studio 54. And you really can't compete with Rocky Horror when it comes to nostalgia, meaning once again you're back to these performers and these amazing voices. And it's true, they sound fantastic. And that was talked about extensively in the reviews, which were not wholly negative. They were also not wholly positive. And it's been a season of generally an awful lot of critics picks from the New York Times, generally positive reviews, especially for most musical. And it admittedly was not consistently well reviewed. It certainly was not well reviewed by this particular critic. So say what you will, not everyone was convinced by New Chess. And though they've been able to run for a decent number of months now, the grosses at the box office seem to have indicated two things happening in conjunction. One is the depletion of a finite amount of interest in this show and these actors and these performances. And the other seems to have been the word of mouth when it comes to the show gradually catching up with it with no hugely exceptional reviews or award wins to keep it going any longer. And we know that the box office has been more about the actors than the show itself because it's been clear to see the dips when leading lady Lea Michele has been out of the production. Now, I had heard fairly early on that there was always a plan for her to leave the production shortly after the Tony Awards in the anticipation perhaps that she would be nominated and could perhaps even win. Evidently we know now that that is not within the realms of possibility and there was always going to be some kind of a high profile replacement. I had heard different names to JoJo at one time, so I don't know whether plans changed somewhat. Obviously it's very sad for her that she's not going to get to go into the production. She doesn't, however, have to endure the indignity of going into the show only to have them immediately announce closing afterwards. And like I said back at the start, the fact that it's closing when Leah was scheduled to leave feels utterly auspicious. They know that without her, there is simply not sufficient interest in the show. The producers also have access to advance sales figures and it could be that beyond Lea Michelle's run, it wasn't selling as well as they had hoped. And JoJo is very talented and did very well, it seems, in Moulin Rouge on Broadway. But when you are a celebrity doing your first Broadway show and fans can finally see you in that realm, it's that little bit more exciting than the second Broadway show, especially if it's a little less well suited to your brand. Jojo singing pop songs and being the sparkling diamond in Mulan Rouge is a little different to her playing Florence in that very straight Kyle Richards from the Real Housewives of Beverly Hills Season 1 wig. And speaking of JoJo, it would seem she's made a comment on social media indicating that she was scheduled to begin rehearsals today. So very disappointing for her as well as everyone else in the cast carrying on. What haven't I talked about? Oh, I am curious now that the show is ending in late June, if Aaron Tveit is going to have a chance to return to Moulin Rouge before that show closes. I had speculated that he was going to appear as a surprise in the final few scenes of the last performance, but he could now do an actual little run. Now, if we take a look at the show's grosses throughout the history of its run, they do seem to indicate a gradual depletion of interest quite sharply in the few months since it opened. We can also see utter droppings off on a couple of weeks, presumably those when leading lady Lea Michele had absences is let me just verify that. And yes, that's exactly what they were that first week of April. I mean, that paints a very clear picture. It also though, is something of an endorsement of the box office power of Lea Michele, at least for the first few months of a run. To summarize though, beyond a finite enthusiasm of theatre goers to hear her belting out a handful of power ballads on a Broadway stage alongside some very talented co workers, there just wasn't enough that this production could offer people, and certainly not outside of that theatre goer bubble. Even the casting spoke very much to a theatrical audience and didn't really extend very far beyond that. What then does this tell us about Broadway and what is going to happen next?
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Mickey Jo
So I think, discouraging as this obviously is for those involved, and not that it was a wildly short run, but I do think, and this is going to be no comfort to anyone whatsoever, I am a little encouraged that in spite of everything that we talk about and casting and marketing and Tony Awards and all of these factors, it would seem as though a good story and good material will find some way to endure in most instances or will at least boost shows. And a certain lack of substance, which is how I would diagnose this production of Chess, at the very least, will eventually catch up to itself. And if there's one lesson that I hope that producers and creatives learn from this production of Chess, I hope that it's not that the show is just impossible to sell commercially, Though I will admit it's hugely challenging, especially in the climate in which it has found itself. But really, it is that the insubstantial Sunset Boulevardification of a nostalgic musical with big vocals and intense lighting on a slightly threadbare set and just kind of paring everything back and minimalizing, realizing it isn't always going to work, and certainly not if it isn't grounded in some greater artistic vision. If this brings an end to the trend that we were beginning to see in musicals and musical revivals specifically, that might not be the worst thing in terms of what else this can do. It's been a huge career moment for Nicholas Christopher, who was already going from great performance to great performance, very celebrated while understudying the leading role in the Sweeney Todd revival. I saw him off Broadway after that in Little Shop of Horrors. I thought he was terrific, but certainly audiences are now taking note of him after his performance in Chess. Likewise, Hannah Cruise, who many of us clocked as a brilliant star in Suffs in the Connector, now a Tony Award nominee for the first time. For her like 16 minutes of stage time in the second act of chess, hopefully this is a platform for her to go on to even more exciting things subsequently. Also, Bryce Pinkham back on Broadway more often. Please. In short, and I said it about bad Cinderella, I will also say it honestly about this. I think every talented member of this company can do a little better than this show. The other thing those two musicals have in common, of course, is the Imperial Theater in New York. And the question becomes, what is going to go There next. Well, since the show is closing in June and I don't think it's been directly motivated by another incoming production, the Imperial does tend to stay dark for wildly long amounts of time between the various runs that it's had. Recent shows there being Smash and Water for Elephants and Bad Cinderella, but I don't think anything is going to attempt to come in over the summer. Quite possibly we could now see a new tenant at the venue this fall or perhaps in the spring, and there are a bunch of new musicals and other revivals. We are in a moment of many revivals still circling Broadway at the moment and looking for venues. This Dreamgirls revival, where is that going to end up? Has that got the Lunt Fontan After Death Becomes her announced its closing, or is it going to the Imperial? Are there other new musicals that are going to finally come to fruition unexpectedly? Is the Dolly musical going to come in? Is Purple Rain going to come in? There are many question marks about where exactly these shows are going to end up because there is a lot of real estate suddenly becoming available. The Schubert is available. The Imperial is available. No, I take it back. Galileo is going to the Schubert. Evita just announced for the Winter Garden. We're still not quite sure what's going to the Hirschfeld, though. People are expecting it to be Paddington. The next Broadway season is slowly coming together, but we can guarantee that the there will be something at the Imperial which I know is minimally helpful from me, but even if I did know, I don't think I would really be allowed to tell you. We will all have to wait and find out together. In terms of the enduring legacy of Chess, I do think that this is going to be a major footnote in its history, but I am hoping that the closure and the lack of Tony nomination go some of the way towards motivating this not being the only licensed version. Subsequently migrating fear is that this would be heralded as the saving of Chess and the fixing of Chess and that this would be the only licensable version moving forwards. And maybe this is even a better version of the show for US audiences because it will always need some level of adjustment. But here in the UK this is not a Chess that we want. Further to that, I'm curious about whether we are going to see more U.S. regional productions of Chess now that the show has been that little bit more popularized by a more substantial Broadway run. Are we going to see another London or UK production anytime soon? I'm always very curious about new interpretations of the show. Not least of all because they tend to be so, so different and ultimately in the history books of Broadway. At the very least. I think this will probably not be remembered as the fixing of chests or the saving of Chess, but a lot of people insist that that was never really viable in the first place and all they really wanted was a campy, fun version of the show that sounded great and allowed audiences to enjoy indulge in their guilty pleasure appreciation of it in the first place. And I think we will remember this production of Chess as one that sounded absolutely fantastic. For now though, I think that is everything there is to say about this production. Those have been my thoughts about the closing of Chess on Broadway. If you were desperate to see this production and haven't yet had the chance, go get yourself a ticket. Go and check it out before June 21st. If you want to know more details, detailed thoughts that I had about the show, you can go and watch or listen to my review. You can also share your own thoughts about it in the comments section down below. If you loved this production, as I know many people did, please tell us why and please share your fond memory of seeing it. In the meantime, once more, my thoughts are with the company, the crew, everyone working inside and beyond the Imperial Theatre. Believe it or not, I know multiple people who are working in and on Chess. It's always hugely disappointing when any show comes to an end in a fashion like this, and I'm sorry that they're all having to experience that. It is, however, as one particular long running Broadway musical tells us, the circle of life. And we will be back here talking about a different musical revival, talking about a different closing notice before too long, I am sure. And hey, don't forget to mark your calendars for 40 years from now when I'm talking about the next Broadway revival of Chess through my presumably fake teeth. In the meantime, and until then, I hope this may have answered any questions you had about the sudden announcement of Chess's closure on Broadway. If you have any further further questions, feel free to ask them in the comments section down below. I hope that you enjoyed listening to my thoughts. If you did, make sure to subscribe here on YouTube for many more theatre themed videos coming very soon or follow me on podcast platforms. I have been Mickey Jo and as always, I hope that everyone is staying safe and that you have a Stagey Day.
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Mickey Jo (closing)
For 10 more seconds. I'm Mickey Jo Theatre. Oh my God. Hey, thanks for watching. Have a stagey day.
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Mickey Jo
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