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Trainwreck on Broadway

 "Chess" begins in a sort of coherent way. 


Florence is a brilliant chess strategist--brilliant!--but Freddie, her Bobby Fischer-esque lover/colleague, does not appreciate her. Florence sees an opportunity to run off with a Russian, Anatoly, so she overhauls her life story. This is a bold move; she really did have some affection for Freddie! Fade to black.


Act Two is harder to follow. Living in the UK, Florence has a great deal of sex and chooses not to think about how Anatoly has abandoned a few children. (Hard to swallow this. In "The Americans," when Philip Jennings is struggling within his arranged marriage, he still has feelings for his kids.) The Russians try to manipulate Florence. Though the Kremlin is considering a (literally apocalyptic) nuclear war, peace will reign if Russia can win an important chess match. Yes, the fate of the world is hanging on a chess match. If Florence can persuade Anatoly to lose-on-purpose, a geopolitical crisis can be averted.

That's a lot to stomach. Additionally, Florence, who hasn't had a conscience for four years, suddenly decides that she *does* care about Anatoly's children, because Anatoly's estranged wife is back on the scene. Florence is still young-ish--she is in her thirties. So she burns her life to the ground once again. She leaves Anatoly. The End.

Famously, Frank Rich said that this show has the theatrical consistency of quicksand. He wrote that it's a series of tantrums--performed by three shrieking adults--with rock music in the background. Danny Strong has not saved the show; I think he has made it even worse, by adding obnoxious, unfunny commentary after each song. There is a trend on Broadway--it reached a nadir with "Shucked"--in which a writer seems to say, "Look, I know this material is really bad, but I'm in on the joke. You can't laugh at me if I'm already laughing at myself." What a terrible miscalculation. In "Chess," the narrator interrupts one of Lea Michele's solos to react to the belting: "I mean, come on." After Aaron Tveit's big solo, the narrator again addresses the audience. "THAT was sexy." "Chess" has always been a steaming mound of trash--so the new choices do not feel sacreligious. But--certainly--these choices *are* insulting to the audience.

I thought the main reason to see this would be Nicholas Christopher, but I can add that Aaron Tveit handles himself skillfully in a deeply silly and misconceived role. Aaron Tveit! Who knew?

This show will sell well--and it might help Nicholas Christopher's career. But let's see NC return to his commitment to *good* musicals. More Sondheim, please.

Regarding "Chess": Save your cash.
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