Nothing is so good it lasts eternally...
Chess - Domfestspiele, Bad Gandersheim, 22nd July, 2012 3pm matinee
Question: What does the musical 'Chess" have in common with the game 'Chess'?
Saying that I had seen four different productions in the last seven years before (not counting the various dvds as of the RAH concert or the Stockholm one) and none had really impressed me. Sometimes I was actually wondering whether the concept of the story which I adore can really come on a stage that does it justice.
So this show since mentioned already my overall comments: A week after I went there for the fantastic "Blondgirl Undercover" I was back in the town for another Sunday matinee.
Show had its premiere three days before with some good - mixed reviews. Interesting again how differently people see shows. Musicalzentrale.de e.g. mentioned the version/book as a highlight, others had issues with it mentioning the cast as a highlight and so on.
Anatoly Sergievsky - Dirk Weiler
Frederick 'Freddie' Trumper - Thomas Christ
Florence Vassy - Navina Heyne
Svetlana Sergievsky - Alexandra Farkic
Alexander Molokov - Florian Hacke
The Arbiter - Karsten Kenzel
Anna Petrowna- Christine Dorner
Mischa Sergievsky - Antonio Xavier Cabrera Val
Florence Vassy, as a child - Winona Brandt
Florence Vassy's father - Robert Meyer
Director Christian Hockenbrink
Choreography Kati Farkas
Musical Director - Heiko Lippmann
Stage Design - Kati Kolb
The stage is left plain and not the usual checkerboard you get in other productions.
There are a Russian and an American flag at the walls of the church and two chairs and a table on the right hand side with a normal checkerboard on it which is later in the show regularly moved around from right to left, from left to centre stage and back to the right etc.
The show opens with a back story about Anatoly’s family with Anatoly quarreling with his wife about him off to Merano and her left behind showing that his marriage is unstable. However, it is shown how much he loves his young son ("The Story Of Chess" and "Where I Want To Be") with some political arbitrariness taking place in background.
What massively bugged me is the German translation. It starts with some so far away from the original that they do not make the same impression on me, other are not matching the melodies too well due to a translation 1:1 for some numbers but due to different number of syllables it is out of sync and it is so hard to follow and understand them that narrative clarity is just simply not there. The regular over-amplification did not help either as I sometimes actually could not understand what they were singing about.
What also bugged me in this version was the rush that it felt like an ICE train passed by. One scene follows so quickly the other that at least I could not breath or reflect the scene. For some reasons (13/08/2012 update as they have to finish their evening shows by 10pm) obviously they shorten shows at this open air theatre to keep them below two hours (length (one act!) was including curtain call just 105 mins) and while in the first half the pace was usually right but the odd scene change too quick, the story itself rivetting, in the second half when the focus changes it lacked some more elaboration of the emotional elements, the motifs to understand and follow the characters better. Yes, it should not be too blown as in other productions but at least give me some! It does not have to be a regional train but at least "just" an Intercity??
Navina Heyne as Florence Vassy, the focal point of the game, is clearly the star of the afternoon. Do I sound like stuck in a loop when the young lady comes up? ;-) Incredible how much she gives and gives as Florence being so mesmerising and enchanting, a woman who betrays one love for another head over heels and is left with none at end having enough of the game(s). Her "Heaven Help My Heart" holds pure powerlessness and vulnerability sung with such an effortless beauty and vocal range, her "Nobody's Side" was so energetic and belting and her duet with Alexandra Farki "I Know Him So Well" is exceptionally touching and captivating.
Alexandra Farkic as Svetlana Sergievsky, the betrayed wife of Anatoly. Her "Someone Else's Story" was sung so beautifully (so not a fan at all of the German lyrics, though I do not know whether they might be based on the Sydney version as I recall they were re-written for that production, yes they match the scene but the original English version is so lyrical, so beautiful but these are ... well, not) and gives a tremendous, honest performance. What I especially liked is that her Svetlana is neither too bitter or too cold and hostile e.g. to Florence but of an ordinary loving woman, whatever nationality. Especially in "I Know Him So Well" with Navina that came across so well.
Florian Hacke as Alexander Molokov (also always interesting what first name they use, as in e.g. the Broadway production it is Ivan) is not the usual grouch Russian agent usually seen in this show but more the power-hungry career driven prick. I could even say that I was not convinced that he really believed in communism but as selfish as he is and lives a decent life it seems represents what pays his bills and for his living standard.With the cut of Walter (saying that am aware he was just added for Broadway) the part slightly loses its counter balance of who is the baddie as the US CIA was as bad as the KGB imho though that most probably really would have blown up the political part again.
Karsten Kenzel as the Arbiter is as the somehow equivalent to Cabaret's emcee, a narrator but also someone occasionally involved in the show twisting the story, well in past productions, here is really more just a referee. In the London production and in others it was the Arbiter who would do the opening of "The Story Of Chess". Removing that it already takes away one narrator element and degrades the part a bit. Overall he came across as a very slimy arrogant referee, not the rather cold no-nonsense as e.g. in the London production, which I surprisingly liked just lacked a bit of strictness when e.g. requesting a reconciliation meeting as am more a fan of the London interpretation delivering a splendid "The Arbiter's Song".
What I did not like though was "One Night In Bangkok" though that was not due to him or Thomas Christ (okay, not sure about his "rap" bit) who took over for the second half of the song but I did not like a) that it was not really part of the show anymore (well cannot be as there is no Bangkok anymore), it just suddenly came from the off when Florence and Anatoly are at the restaurant as mentioned above already some guy appears onstage, Florence spots him and Anatoly says it must be an KGB agent and suddenly the rest of the cast appears and the song starts. Why not do it like they want to go dancing and that is where the song is performed where they then also bump into a drunk Freddie. As far as I recall that is actually how it is done in the Stockholm production and b) the orchestration. I think nearly everyone knows that song, the special sound of it, the special drive, but here it was just another crappy over-driven 90s eurotrash pop song with especially the drums far too loud.
Actually in general I was not a fan of orchestration besides the over-amplification, I am sure the right tunes were played, it just did not feel right too often especially when knowing how well and full the frenetic and eclectic music can sound.
Choreography (by Kati Farkas) was good and impeccably performed, nothing too challenging but suited the situations and they stayed far away of constantly rubbing in the metaphors of the show. But then the name of the choreographer and director was not Pascale Chevroton, a former dancer and wannabe director from France, or someone else who is known for exaggerating any cliche and metaphor in all their productions. Same goes for the stage set. As mentioned before they stayed away from a checkerboard stage and clearly focused on the story. Costumes suited era with me liking most but the odd one.
Before I forget it, of the overall convincing ensemble that is well disciplined with tight harmonies special kudos need to go to Yoko El Edrisi who is such a talented sunshine and to Sebastian Hammer for such a terrific Italian waiter. Can he take my order please? ;-)
So what is the difference between the game and the show for me?
The game is politics and full of strategic thoughts, or at least diplomacy but follows strict rules and if anything wants to cheat with dirty tactics as provoking the opponent there might be a referee to intervene.
The story though, while people might seem like pieces of the game, does not stick to the rules and some try to manipulate others. And this is where the metaphor issue fails for me and unfortunately the concept, as much as I am fascinated by it in theory, too when I see it onstage, it actually could be any kind of game, maybe "Mensch ärgere dich nicht" (literally "Do not get angry, man""), a game similar to Ludo, at least the title would be suitable: do not get angry man by the dirty games others play. ;-)
Tim Rice once said in an interview that "it may sound arrogant, but Chess is as good as anything (he has) ever done. And maybe it costs too much brainpower for the average person to follow it."
Having seen now five productions I cannot agree with him and I think I have enough brainpower (oh that sounds now arrogant, but yeah, I am smart, often a smart a**).
So going back to this production, while the overall show still cannot convince me largely due to the overwritten book, the performances though can and I had, despite all negativity, an enjoying afternoon.
Since I will see the show once more in two weeks that is what I will purely focus on watching these performances.
Pictures above taken from the official website
Question: What does the musical 'Chess" have in common with the game 'Chess'? My answer: You hardly ever know what to expect before it opens.
The "issue" with the musical is, that even if you think you have seen the show, another production can be different. There are so many versions of it that sometimes it feels like you see a completely different show.
The "issue" with the musical is, that even if you think you have seen the show, another production can be different. There are so many versions of it that sometimes it feels like you see a completely different show.
"Everybody is playing the game,
but nobody’s rules are the same."
All versions, originally inspired by the Bobby Fischer-Boris Spassky match of the century in 1972, are set in the context of a Cold War struggle, America represented by Frederick 'Freddie' Trumper and Russia represented by Anatoly Sergievsky go head to head at a world chess championship with the game being both plot lever and metaphor.
Freddie brings with him his Hungarian-born lover, Florence, who is also his second and who lost her father in the 1956 revolution and who falls in love with Anatoly. From this point then, well actually already before due to various openings or even this bit can be different as Florence has also been Czech before, the versions vary as can be read e.g. on Wikipedia.
The Bad Gandersheim production is clearly based on the Stockholm one which is very detailed described and compared to others >>here. There are nevertheless again some changes as how Anatoly and Florence meet or who wins the game at the end.
The version is considered as the best version by many Chess fans reading reviews etc. on the net. Well having seen the show now in Bad Gandersheim, I am not convinced though as my Swedish is not great I cannot tell whether it is just the structure as the Stockholm one as the dialogues etc. seem to be as other German productions I have seen.
This version is certainly a good start concentrating on the key elements of the show taking out the (especially since Broadway) blown up politics potboiler which was so exaggerated but unfortunately cheese stays cheese in regards to book and lyrics and too many cuts of political background information are not good IMHO either and especially in regards to the German translation of the lyrics/dialogues (by Ulrich Bree and Markus Linder).
So this show since mentioned already my overall comments: A week after I went there for the fantastic "Blondgirl Undercover" I was back in the town for another Sunday matinee.
Show had its premiere three days before with some good - mixed reviews. Interesting again how differently people see shows. Musicalzentrale.de e.g. mentioned the version/book as a highlight, others had issues with it mentioning the cast as a highlight and so on.
Frederick 'Freddie' Trumper - Thomas Christ
Florence Vassy - Navina Heyne
Svetlana Sergievsky - Alexandra Farkic
Alexander Molokov - Florian Hacke
The Arbiter - Karsten Kenzel
Anna Petrowna- Christine Dorner
Mischa Sergievsky - Antonio Xavier Cabrera Val
Florence Vassy, as a child - Winona Brandt
Florence Vassy's father - Robert Meyer
Ensemble: Yoko El Edrisi, Anaïs Lueken, Nina Vlaovic, Sebastian Hammer, Mickey Petersson, Robert Meyer
Director Christian Hockenbrink
Choreography Kati Farkas
Musical Director - Heiko Lippmann
Stage Design - Kati Kolb
So the plot for anyone not familiar with the Stockholm version (songs added as far as recall), well plot of this one and some production notes (>> I want to skip plot ) :
 |
| Half of the stage prior show from my side view seat |
There are a Russian and an American flag at the walls of the church and two chairs and a table on the right hand side with a normal checkerboard on it which is later in the show regularly moved around from right to left, from left to centre stage and back to the right etc.
The show opens with a back story about Anatoly’s family with Anatoly quarreling with his wife about him off to Merano and her left behind showing that his marriage is unstable. However, it is shown how much he loves his young son ("The Story Of Chess" and "Where I Want To Be") with some political arbitrariness taking place in background.
We are in Merano where the tournament takes place ("Merano") seeing the arrival of Anatoly accompanied by Molokov and Freddie accompanied by Florence ("Press Conference").
This scene involves some extras bringing in some branches decorated with some artificial leaves standing on the side and at the front of the stage but also in the aisles of the auditorium which came across a bit silly and reading Robin Jantos's review it seems this actually even blocked the view for some people (not for me). What was though purely ridiculous was that a local marching band even came onstage. Jeez. Too bad actually with all the changes they didn't cut "Merano" as it adds too little to the show IMHO.
Molokov and Anatoly discuss Freddie's behaviour ("Molokov And Anatoly" - song though massively shortened) and after bumping into Anatoly in a lift Florence confronts Freddie and we also learn about Florence's history a bit more that she got separated from her father in Budapest in 1956 ("You Want to Lose Your Only Friend?/Florence & the American" (whatever title as these two float around") and "Nobody's Side").
We are then at the tournament meeting the Arbiter who insists on a fair and clean game ("The Arbiter") and the game starts (Chess Intrumental (? not too familiar with the various instrumentals so could be wrong)).
Freddie gets more and more tense, regularly moves around the room, gets to send away people who stand around and eventually storms out, well in this production he actually more sneaks off, leaving Florence in an argument with The Arbiter and the Russians ("Quartet (a Model of Decorum and Tranquility)"). The Arbite annuls the game, reschedules it to the following week and requests that they sort out their issues in a meeting.
The next scene is the meeting, well just Florence and Anatoly first meeting at a romantic-y Italian restaurant: table in the middle covered with a kitschy red-white checkered table cloth on, some flower props at front of stage, two guys bring onstage an oversized poster of a sunset on it and while holding it imitating the sound of crickets, a stereotypical waiter (Sebastian Hammer) brings some wine, they clink glasses and passion starts to spark ("Mountain Duet").
They actually start to have an ordinary chat, we learn that Florence has not seen her father again since 1956.
Some guy comes onstage who as Anatoly says is a Russian spy and suddenly the Arbiter appears with the rest of the ensemble as some kind of off scene performing "One Night In Bangkok". Half along the song Freddie appears onstage and takes over from the Arbiter. Freddie actually then materialises and starts to argue with Florence ("Florence Quits"), smashes the interior and disappears.
Anatoly and Florence are left behind looking rather untouched by the incident ("Heaven Help My Heart"). Directly after it is following day, Anatoly and Florence meet again and Anatoly declares that he will defect and suddenly we are in a press conference with journalists questioning him ("Anatoly And The Press" and "Anthem").
There is not the usual interval but it continues straight away with Freddie attacking Anatoly verbally (based on "No Contest" (?) with obviously adjusted lyrics), Anatoly goes away and Molokov appears who tampers with Freddie with the news that Florence's father apparently is still alive but he would only be released if Freddie ensures that Anatoly loses the game - if not Freddie might have a little accident soon. Freddie is distraught and leaves Molokov behind who organises that Svetlana and her son come to Merano.
Anatoly and Florence have some kind of date. They talk about the rumour/news of Svetlana ("One More Opponent" (shortened) and "You And I") - at end phone rings and the news is confirmed: Svetlana and the son have arrived in Merano.
Next scene is slightly drunk Freddie appearing onstage with a checkerboard reflecting on his past life ("Pity the child") - unfortunately as I saw a matinee the light effects as on the picture left could not be seen.
Then we learn Svetlana is really in Merano brought to a room it seems by some agents ("Someone Else's Story").
We are at the evening before the game and every one does their moves for the game of life, Svetlana talks to Anatoly to get him to return to the USSR, Freddie to Florence about her father and with Florence to Anatoly ("The Deal" and "Nobody's Side" reprise).
Florence and Svetlana bump into other ("I Know Him So Well") - not clear whether this happens accidently or organised by e.g. Molokov.
The game begins ("Endgame# 2" and "Endgame #3" I think) while Svetlana castigating Anatoly for wallowing in the crowd's empty praise and Florence expressing similar annoyance with him for casting aside his moral ideals but Anatoly does not give in and wins the game at the end - and not only that but also decides to return to Russia "to free to help (Florence's) father" ("You and I (reprise)").
Molokov appears and cannot help to badger Florence promising that her father will be freed - if he is still alive upsetting Florence (now completely alone on the stage) that she is sick and tired of all these games ("Anthem (reprise)".
Sounds all okay, does it? To me too, and as said I like the overall concept, but the issues lie in the detail for me.
This scene involves some extras bringing in some branches decorated with some artificial leaves standing on the side and at the front of the stage but also in the aisles of the auditorium which came across a bit silly and reading Robin Jantos's review it seems this actually even blocked the view for some people (not for me). What was though purely ridiculous was that a local marching band even came onstage. Jeez. Too bad actually with all the changes they didn't cut "Merano" as it adds too little to the show IMHO.
Molokov and Anatoly discuss Freddie's behaviour ("Molokov And Anatoly" - song though massively shortened) and after bumping into Anatoly in a lift Florence confronts Freddie and we also learn about Florence's history a bit more that she got separated from her father in Budapest in 1956 ("You Want to Lose Your Only Friend?/Florence & the American" (whatever title as these two float around") and "Nobody's Side").
We are then at the tournament meeting the Arbiter who insists on a fair and clean game ("The Arbiter") and the game starts (Chess Intrumental (? not too familiar with the various instrumentals so could be wrong)). Freddie gets more and more tense, regularly moves around the room, gets to send away people who stand around and eventually storms out, well in this production he actually more sneaks off, leaving Florence in an argument with The Arbiter and the Russians ("Quartet (a Model of Decorum and Tranquility)"). The Arbite annuls the game, reschedules it to the following week and requests that they sort out their issues in a meeting.
The next scene is the meeting, well just Florence and Anatoly first meeting at a romantic-y Italian restaurant: table in the middle covered with a kitschy red-white checkered table cloth on, some flower props at front of stage, two guys bring onstage an oversized poster of a sunset on it and while holding it imitating the sound of crickets, a stereotypical waiter (Sebastian Hammer) brings some wine, they clink glasses and passion starts to spark ("Mountain Duet").
They actually start to have an ordinary chat, we learn that Florence has not seen her father again since 1956.
Some guy comes onstage who as Anatoly says is a Russian spy and suddenly the Arbiter appears with the rest of the ensemble as some kind of off scene performing "One Night In Bangkok". Half along the song Freddie appears onstage and takes over from the Arbiter. Freddie actually then materialises and starts to argue with Florence ("Florence Quits"), smashes the interior and disappears.
Anatoly and Florence are left behind looking rather untouched by the incident ("Heaven Help My Heart"). Directly after it is following day, Anatoly and Florence meet again and Anatoly declares that he will defect and suddenly we are in a press conference with journalists questioning him ("Anatoly And The Press" and "Anthem").
There is not the usual interval but it continues straight away with Freddie attacking Anatoly verbally (based on "No Contest" (?) with obviously adjusted lyrics), Anatoly goes away and Molokov appears who tampers with Freddie with the news that Florence's father apparently is still alive but he would only be released if Freddie ensures that Anatoly loses the game - if not Freddie might have a little accident soon. Freddie is distraught and leaves Molokov behind who organises that Svetlana and her son come to Merano.
Anatoly and Florence have some kind of date. They talk about the rumour/news of Svetlana ("One More Opponent" (shortened) and "You And I") - at end phone rings and the news is confirmed: Svetlana and the son have arrived in Merano.
Then we learn Svetlana is really in Merano brought to a room it seems by some agents ("Someone Else's Story").
We are at the evening before the game and every one does their moves for the game of life, Svetlana talks to Anatoly to get him to return to the USSR, Freddie to Florence about her father and with Florence to Anatoly ("The Deal" and "Nobody's Side" reprise).
Florence and Svetlana bump into other ("I Know Him So Well") - not clear whether this happens accidently or organised by e.g. Molokov.
The game begins ("Endgame# 2" and "Endgame #3" I think) while Svetlana castigating Anatoly for wallowing in the crowd's empty praise and Florence expressing similar annoyance with him for casting aside his moral ideals but Anatoly does not give in and wins the game at the end - and not only that but also decides to return to Russia "to free to help (Florence's) father" ("You and I (reprise)").
Molokov appears and cannot help to badger Florence promising that her father will be freed - if he is still alive upsetting Florence (now completely alone on the stage) that she is sick and tired of all these games ("Anthem (reprise)".
Sounds all okay, does it? To me too, and as said I like the overall concept, but the issues lie in the detail for me.
What also bugged me in this version was the rush that it felt like an ICE train passed by. One scene follows so quickly the other that at least I could not breath or reflect the scene. For some reasons (13/08/2012 update as they have to finish their evening shows by 10pm) obviously they shorten shows at this open air theatre to keep them below two hours (length (one act!) was including curtain call just 105 mins) and while in the first half the pace was usually right but the odd scene change too quick, the story itself rivetting, in the second half when the focus changes it lacked some more elaboration of the emotional elements, the motifs to understand and follow the characters better. Yes, it should not be too blown as in other productions but at least give me some! It does not have to be a regional train but at least "just" an Intercity??
The performances on other hand can overall impress.
Dirk Weiler as Anatoly Sergievsky is one tormented dignified one who is more quiet and even nearly a shy geek than other Anatoly's seen who are usually more, well let's call it Russian, think of icy Siberia, so that when he quotes Florence lines about feeling ridiculous" made more sense . His "Anthem" is also less fierce, less army style, more having a sweet reminiscent mood but it suits his character approach making him a lot more human.
Thomas Christ as the twisted Frederick 'Freddie' Trumper is not going down the total lunatic John McEnroe-style psychopath route, which I have seen in the most recent productions, more one of a bitter frustrated spoilt smart a**, delivering an overall great "Pity The Child" which he does with not too much sentimentality but enough intense bitterness, anger and cynicism though sounding in the higher ranges pitched and strained though this could be the result of a sore throat he was suffering from (as I learnt of when talking to him before the show), well hopefully as I once read on a forum the statement that "Chess eats voices for breakfast".
Alexandra Farkic as Svetlana Sergievsky, the betrayed wife of Anatoly. Her "Someone Else's Story" was sung so beautifully (so not a fan at all of the German lyrics, though I do not know whether they might be based on the Sydney version as I recall they were re-written for that production, yes they match the scene but the original English version is so lyrical, so beautiful but these are ... well, not) and gives a tremendous, honest performance. What I especially liked is that her Svetlana is neither too bitter or too cold and hostile e.g. to Florence but of an ordinary loving woman, whatever nationality. Especially in "I Know Him So Well" with Navina that came across so well.
Florian Hacke as Alexander Molokov (also always interesting what first name they use, as in e.g. the Broadway production it is Ivan) is not the usual grouch Russian agent usually seen in this show but more the power-hungry career driven prick. I could even say that I was not convinced that he really believed in communism but as selfish as he is and lives a decent life it seems represents what pays his bills and for his living standard.With the cut of Walter (saying that am aware he was just added for Broadway) the part slightly loses its counter balance of who is the baddie as the US CIA was as bad as the KGB imho though that most probably really would have blown up the political part again.
Karsten Kenzel as the Arbiter is as the somehow equivalent to Cabaret's emcee, a narrator but also someone occasionally involved in the show twisting the story, well in past productions, here is really more just a referee. In the London production and in others it was the Arbiter who would do the opening of "The Story Of Chess". Removing that it already takes away one narrator element and degrades the part a bit. Overall he came across as a very slimy arrogant referee, not the rather cold no-nonsense as e.g. in the London production, which I surprisingly liked just lacked a bit of strictness when e.g. requesting a reconciliation meeting as am more a fan of the London interpretation delivering a splendid "The Arbiter's Song".What I did not like though was "One Night In Bangkok" though that was not due to him or Thomas Christ (okay, not sure about his "rap" bit) who took over for the second half of the song but I did not like a) that it was not really part of the show anymore (well cannot be as there is no Bangkok anymore), it just suddenly came from the off when Florence and Anatoly are at the restaurant as mentioned above already some guy appears onstage, Florence spots him and Anatoly says it must be an KGB agent and suddenly the rest of the cast appears and the song starts. Why not do it like they want to go dancing and that is where the song is performed where they then also bump into a drunk Freddie. As far as I recall that is actually how it is done in the Stockholm production and b) the orchestration. I think nearly everyone knows that song, the special sound of it, the special drive, but here it was just another crappy over-driven 90s eurotrash pop song with especially the drums far too loud.
Actually in general I was not a fan of orchestration besides the over-amplification, I am sure the right tunes were played, it just did not feel right too often especially when knowing how well and full the frenetic and eclectic music can sound.
Choreography (by Kati Farkas) was good and impeccably performed, nothing too challenging but suited the situations and they stayed far away of constantly rubbing in the metaphors of the show. But then the name of the choreographer and director was not Pascale Chevroton, a former dancer and wannabe director from France, or someone else who is known for exaggerating any cliche and metaphor in all their productions. Same goes for the stage set. As mentioned before they stayed away from a checkerboard stage and clearly focused on the story. Costumes suited era with me liking most but the odd one.
Before I forget it, of the overall convincing ensemble that is well disciplined with tight harmonies special kudos need to go to Yoko El Edrisi who is such a talented sunshine and to Sebastian Hammer for such a terrific Italian waiter. Can he take my order please? ;-)So what is the difference between the game and the show for me?
The game is politics and full of strategic thoughts, or at least diplomacy but follows strict rules and if anything wants to cheat with dirty tactics as provoking the opponent there might be a referee to intervene.
The story though, while people might seem like pieces of the game, does not stick to the rules and some try to manipulate others. And this is where the metaphor issue fails for me and unfortunately the concept, as much as I am fascinated by it in theory, too when I see it onstage, it actually could be any kind of game, maybe "Mensch ärgere dich nicht" (literally "Do not get angry, man""), a game similar to Ludo, at least the title would be suitable: do not get angry man by the dirty games others play. ;-)
Tim Rice once said in an interview that "it may sound arrogant, but Chess is as good as anything (he has) ever done. And maybe it costs too much brainpower for the average person to follow it."
Having seen now five productions I cannot agree with him and I think I have enough brainpower (oh that sounds now arrogant, but yeah, I am smart, often a smart a**).
So going back to this production, while the overall show still cannot convince me largely due to the overwritten book, the performances though can and I had, despite all negativity, an enjoying afternoon.
Since I will see the show once more in two weeks that is what I will purely focus on watching these performances.
Pictures above taken from the official website
