♟️ Chess

Review

There are musicals that dazzle through spectacle, and then there are those that challenge the intellect while demanding absolute vocal excellence from their performers. Chess belongs firmly to the latter — a thinking person’s musical where the strongest moves are made through music rather than motion, and where the human voice becomes the most powerful piece on the board.

Set against the ideological tension of the Cold War, Chess unfolds as both a political thriller and an emotional standoff. Nations, champions, and lovers engage in a high-stakes match where loyalty is conditional and power constantly shifts hands. The story resists excess, choosing restraint and intention over spectacle, allowing its themes — control, manipulation, and survival — to land with clarity.

The beating heart of this production is its cast, anchored by three undeniable vocal powerhouses. Lea Michele delivers a performance marked by precision, strength, and emotional intelligence. Her portrayal evolves visually and thematically as she emerges first as the dark queen, later transitioning into the white queen — a striking metaphor for the illusion of allegiance. Her rendition of “Nobody’s on Nobody’s Side” was the vocal highlight of the evening: raw, piercing, and devastating in its truth. The realization that even switching sides offers no true safety lands with profound impact, reinforcing the show’s central thesis — that in this game, ideology is malleable, and idealism is often the first sacrifice.

Many audience members arrived anticipating Aaron Tveit and his iconic “One Night in Bangkok.” His performance delivers exactly what the moment demands — confident, charismatic, and effortless — reminding us why this song remains one of musical theater’s most recognizable numbers. It is a controlled and assured performance, played with the ease of someone fully aware of the power he holds on the board.

The evening’s greatest revelation, however, came from Nicholas Christopher. His performance carries unexpected vocal power paired with emotional depth, grounding the production with authority and gravity. He brings a quiet devastation to the role — never overplayed, always intentional — allowing the audience to feel the human cost behind the politics. From a Tony perspective, his work feels especially worthy of recognition; it is the kind of performance that lingers long after the final note, and one that may ultimately define this production’s awards conversation.

Choreographically, Chess is not a dance-driven musical, nor does it attempt to be. Movement is minimal and purposeful, used selectively to support storytelling rather than distract from it. Several moments stood out for their inventive staging and lighting, particularly sequences that transformed the stage into a living chessboard — a visual echo of the strategic maneuvering happening beneath the surface of the narrative.

Costuming follows a similar philosophy of restraint. While lacking traditional theatrical pizzazz, the designs align seamlessly with the Cold War setting and the story’s stoic tone. The muted palette and structured silhouettes emphasize seriousness and control, reinforcing the emotional distance and rigidity that define the world of Chess.

Ultimately, Chess is not concerned with pleasing everyone. It demands attention, thought, and emotional engagement, rewarding theater lovers who appreciate vocal mastery and layered storytelling over spectacle. The vocals are unquestionably the star of the show, making this production essential viewing for anyone invested in musical theater at its most disciplined and intentional.

In the final analysis, every move matters — and this production plays its game with confidence and clarity.