AMBITIOUS CHESS CHALLENGED BY VENUE
AT GENERIC THEATER

Theater Babe says:  Go … and enjoy the game.

There is a prodigious amount of talent involved in the Generic Theater’s Chess, beginning with director, Shon M. Stacy, through and including the 10 other members of the production team, 20 instrumentalists, and 34 singers whose collaboration brings this show to life. The theater itself, however, is very small, and although every bit of the available space has been utilized, the forum itself presents certain challenges that had not yet been overcome by the time the Theater Babe saw the show during its opening weekend.

Chess is a show with little spoken dialogue, relying on the lyrics by Tim Rice and Bjorn Ulvaeus and music by Benny Anderson and Bjorn Ulvaeus (yes, of ABBA fame) to convey the story of two chess masters, one American and one Russian, and the woman who is involved with both of them.  Set during the Cold War, the story intertwines the machinations of geopolitics and a two dimensional love triangle – the Russian is married – with the strategic game itself.

That’s a lot to take in, and this gifted vocal cast directed by Karla D. Robinson has a beautiful tone and demonstrates exemplary diction when enunciating the complex and often rapid-fire lyrics that tell the tale. The comparatively large orchestra embraces the lush, multi-national themed, difficult score.

The problem here is that the combination of the two sets of musicians is not altogether successful; too often, the orchestra overpowers the singers.  While some community theater productions struggle with particular instruments standing out, here the orchestra itself is well-balanced, but, as a whole, it overshadows the vocals.  The singers’ microphones have been set very high, obviously in an effort to combat the instrumentals which are, due to the size restraints of the theater, mere inches from the stage floor.  The result is that the audience is bombarded with music, similar to what you might experience in the middle of a crowded nightclub.  That generates a certain energy, but even exquisitely clear diction is no match for the acoustical challenges presented here, so anyone unacquainted with the plot drowns in a bewildering, unrelenting wave of sound.  Even as one familiar with a lot of the score, but not the London stage version of the book presented here, the Babe fought to comprehend critical plot points.  Because the intrigue set up in “The Soviet Machine,” “The Interview,” “Talking Chess,” and, especially, “The Deal” was largely unintelligible, the full dramatic import of the “Endgame” is lost.  We do not grasp the precise details of the maneuvering occurring during the former, so while we see the characters’ passion as the story reaches its climax during the latter, we do not feel it because we lack vital context.

That’s a missed opportunity which the Babe hopes can be rectified in the remaining weeks of the run, because there are some exceptional performances here that deserve to be appreciated more fully than is possible when the lyrics are so obscured.

As Anatoly Sergievsky, Jonathan McCormick uses his rich, smooth singing voice to create a complex character who is both compelling and credibly flawed.  The pace of this book moves quickly, and it would be easy for Anatoly’s relationship with Florence to be no more than a contrived plot device.  Instead, in this production, Mr. McCormick’s intonation, together with his subtle sidelong glances, body positioning, and facial expressions convince us that Anatoly has met the right woman at the worst possible time, and his inner turmoil is palpable.  Mr. McCormick’s vocals are uniformly first rate, and in a score rife with big power ballads, his “Anthem” is a standout moment.

Michael Lee Ashby’s Frederick Trumper, Anatoly’s American opponent, is an excellent foil for the more introspective Russian.  Freddie is brash and often rude, but Mr. Ashby’s skillful portrayal prevents the character from being merely obnoxious.  Mr. Ashby brings great energy and charisma to the role, and we believe that his Freddie would, through the sheer force of his personality, parlay his proficiency in a relatively dull spectator sport into fame and fortune.  Especially, but not only, in the poignant “Pity the Child,” Mr. Ashby confidently scales the stratospheric notes inherent in this challenging role, with impressive results.

As Florence Vassy, the chess strategist caught between the two players, Angelica Michelle is fierce and fiery.  The score showcases her powerful, melodic belt, and her intensity and passion are incredibly compelling.  Ms. Michelle’s Florence is almost unfailingly strong, consistent with a woman of the period demanding and attaining a role in a profession dominated by men, so her infrequent moments of vulnerability are all the more moving for their scarcity.  Although the Babe wished that Ms. Michelle would stay in the center of the spotlight as she traveled the perimeter of the stage during “Heaven Help My Heart” so that we could better enjoy the totality of her performance, her electrifying delivery of “Nobody’s Side” is extraordinary, and arguably the best moment in the show.

Svetlana Sergievsky is played with endearing pathos by Tara Moscopulos, but in Ms. Moscopulos’ interpretation, Anatoly’s long-suffering wife is no doormat.  Ms. Moscopulos credibly conveys Svetlana’s complicated emotions, ranging from genuine concern about her estranged husband’s well-being to her fury that he has abandoned her and their children to the vagaries of the Soviet state.  Her “Someone Else’s Story” is captivating, and the Babe appreciated its blocking which afforded Svetlana a unique entry point to the stage, highlighting the moment’s piquancy in an understated way.  The Babe only wishes that Ms. Moscopulos would take more advantage of the theater’s intimacy; because she has a tendency to sing to where the balcony might be found in a larger arena, we see more of her neck than her expressive face, and are denied the chance to connect more readily with her character.

Jim Dwyer’s Alexander Molokov is delightfully menacing and manipulative, and his authoritative presence, consistent Russian accent, and rich, deep voice all successfully convey the Soviet threat.  The Babe just suggests that perhaps Mr. Dwyer might be more mindful of the sight lines present in a three-sided stage.  By standing close to and squarely facing the orchestra as he did frequently during the performance the Babe attended, he cut himself off from virtually all of the audience.  While that can be effective when used sparingly, here it was a recurrent issue which diluted any intended impact, and abetted our inability to understand the parts of the plot carried by Molokov’s lyrics. 

The wardrobe, designed by Katelyn Jackson, assisted by Chelsie Cartledge-Rose, effectively juxtapose the black and white of a chessboard.  A couple of the costumes are not flattering on the individuals to whom they are assigned, however, and it’s noticeable because, in general, the costuming works well.  The Babe is on the fence about the decision to have the instrumentalists maintain the white and black theme.  Although she understands the quest for consistency, given the orchestra’s proximity to the actors, the large areas of white behind the stage reflect the light and direct attention away from the on-stage action.  The Babe wonders whether perhaps dressing the instrumentalists in traditional orchestral black with white accents might be a less distracting choice.  Similarly, because the music director is almost standing on stage in the tight quarters of this venue, her effusive conducting style often captures our attention, diverting it from the stage and adding to the difficulty we have in becoming enveloped in the drama.

The scenic design is limited to a slightly raised stage painted as a chessboard, a few chairs, and a podium at which the games are played but is rolled out of the way when not central to the plot.  The show is well blocked, and the live chess match that starts the show is particularly creative.  So if the limited options presented by the spartan set result in occasional duplicative staging, that is more than offset by the brisk pace it promotes by giving this large cast sufficient space to move about without seeming crowded, and providing easy access to the performance area via multiple different entrances. 

The Theater Babe has had the pleasure of seeing several other shows directed by Mr. Stacy, including Assassins (Generic), Parade (LTVB), and The Full Monty (LTN).  Each of his productions has a comprehensive polish and style that distinguish his efforts and mark him as one of the premiere directors in this region.  And even with the challenges displayed during the opening weekend, Chess is no exception to Mr. Stacy’s accomplished track record. 

Bottom line?  Despite the beautiful tone and precise diction of the vocalists, the overwhelming dominance of the harmonious orchestra was a big obstacle to our ability to comprehend the action and become emotionally vested in the piece.  But the Babe believes this production is better than the single performance she saw, and when the sound imbalance is corrected, the Babe is confident that the good show she experienced will become exceptional -- and well worth the time and ticket price.

Performances run through July 21st, Thursday - Saturday at 8 p.m.

and Sunday at 2:30 p.m. at The Generic Theater

215 St. Paul's Boulevard, Norfolk, Virginia 23510.

Tickets are $18 for adults, with discounts for students, seniors, 

and active duty miltary, and can be obtained online at http://www.generictheater.org 

or by calling the box office at (757) 441-2160.

© 2019  Hampton Roads Theater Babe.  All Rights Reserved.