BROADWAY REVIVAL OF CHESS SUCCEEDS WITH STARPOWER BUT SUFFERS FROM A LACKLUSTER BOOK
By Kiersten Bjork (February 28, 2026)
Chess is back on Broadway in a revival that pulls out all the stops, yet still falls short on the script. The Benny Andersson, Tim Rice, and Björn Ulvaeus musical has a new book by Danny Strong in this latest iteration of the “Cold War musical,” and though the songs pack a punch, featuring explosive choreography and powerful voices, the book still feels lacking.
Chess follows a Cold War-era chess championship between grandmasters from the United States and the Soviet Union, Freddie Trumper and Anatoly Sergievsky. Add in chess pro and coach Florence Vassy, who forms the third angle of the love triangle with Trumper and Sergievsky, and political machinations on the parts of both the United States and the Soviet Union, and what unfolds is a sharp, sexy, spectacle of a chess tournament infused with plenty of drama and set to a catchy pop/rock score.
Michael Mayer directs the Broadway revival, with Lorin Latarro as choreographer, Ian Weinberger as music director, Johanna McKeon as associate director, and Travis Waldschmidt as associate choreographer. It’s certainly an eye-catching production, from the blocking and choreography, to the overall design. There are a multitude of harsh lines and sharp angles–from the scenic elements to the costumes, the rigid yet propulsive dancing to the linear formations. It reminds us of the constraints the characters find themselves up against, from expectations to personal limitations–while also being reminiscent of the literal game of chess, from the board to the strict rules. Though it’s a visual feast for the eyes, it does result in a rigidity that permeates the entire production, which at times is to the show’s detriment.
Chess is back on Broadway in a revival that pulls out all the stops, yet still falls short on the script. The Benny Andersson, Tim Rice, and Björn Ulvaeus musical has a new book by Danny Strong in this latest iteration of the “Cold War musical,” and though the songs pack a punch, featuring explosive choreography and powerful voices, the book still feels lacking.
Chess follows a Cold War-era chess championship between grandmasters from the United States and the Soviet Union, Freddie Trumper and Anatoly Sergievsky. Add in chess pro and coach Florence Vassy, who forms the third angle of the love triangle with Trumper and Sergievsky, and political machinations on the parts of both the United States and the Soviet Union, and what unfolds is a sharp, sexy, spectacle of a chess tournament infused with plenty of drama and set to a catchy pop/rock score.
Michael Mayer directs the Broadway revival, with Lorin Latarro as choreographer, Ian Weinberger as music director, Johanna McKeon as associate director, and Travis Waldschmidt as associate choreographer. It’s certainly an eye-catching production, from the blocking and choreography, to the overall design. There are a multitude of harsh lines and sharp angles–from the scenic elements to the costumes, the rigid yet propulsive dancing to the linear formations. It reminds us of the constraints the characters find themselves up against, from expectations to personal limitations–while also being reminiscent of the literal game of chess, from the board to the strict rules. Though it’s a visual feast for the eyes, it does result in a rigidity that permeates the entire production, which at times is to the show’s detriment.
Aaron Tveit, Lea Michele, and the cast of Chess on Broadway (Matthew Murphy)
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Nicholas Christopher and the cast of Chess on Broadway (Matthew Murphy)
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The revival of Chess features a large company with quite a few big-name leads topping the bill. That being said, I do want to give a particular shout-out to the incredible ensemble that is carrying the choreography of the show, as they are a force to be reckoned with. Latarro’s choreography is no joke, and the dance language used in the production is complex, yet very well executed by the ensemble members. It's a talented group of triple threats who are giving their all in each and every number.
Leading the company are Broadway superstars Lea Michele as Florence Vassy, Aaron Tveit as Freddie Trumper, and Nicholas Christopher as Anatoly Sergievsky. The production is filled with opportunities for each of them to show off vocally, and show off they do. Each of the three sing this material exceptionally well–they are absolutely pouring their hearts out in these numbers. Michele’s “Heaven Help My Heart” and “Someone Else’s Story” are breathtaking, while Tveit’s “Pity the Child” and Christopher’s “Where I Want to Be” are powerful, fierce, and incredibly intense.
However, in many parts due to the book, it’s the dialogue that drags their performances down a notch. The songs have much more depth to them than the spoken lines, unfortunately, and while each of the three performers are giving strong takes on their characters, their acting between songs feels lacking, as if I can’t quite believe their interpretations once they leave the songs behind. Again, a large part of this comes from the flatness of the characters as written, but I do wish that these characters felt more fully fleshed out from start to finish. But, all in all, Michele, Tveit, and Christopher are delivering hefty performances each and every show. Michele is captivating, Tveit nails the seemingly care-free yet broken American star, and Christopher is an absolute powerhouse whose never-ending note is already taking the internet by storm. I commend them each for the energy, perspective, and impressive vocal prowess that they bring to their roles.
For me, Bryce Pinkham is one of the highlights of the show. Though not one of the iconic trio, Pinkham tackles the odd role of The Arbiter–both the show’s narrator and the actual arbiter (essentially the chess referee) of the tournament in the show–with charisma, flair, and an excellent touch of well-handled comedy. He is quite enjoyable to watch, and earns more than a few laughs from the audience with his campy quips and comedic timing. His rendition of the number “The Arbiter” is dynamic, and very well done.
Another standout is Hannah Cruz as Svetlana, Anatoly’s wife. Svetlana doesn’t appear until later in the plot, but once she enters, Cruz captures the audience’s attention immediately. She is passionate, she is fiery, she is proud, and she is hurting–and Cruz embodies all of that with strength, grace, and a show-stopping voice.
Bradley Dean is imposing as Molokov, the KGB operative who oversees the Soviet chess champions while getting his hands dirty on the backend of the tournaments as well. Dean deftly handles the role, conveying Molokov’s threatening presence without overdoing it. Likewise, Sean Allan Krill gives a strong performance as Walter, the American also twisting things around behind the scenes of the tournament.
Leading the company are Broadway superstars Lea Michele as Florence Vassy, Aaron Tveit as Freddie Trumper, and Nicholas Christopher as Anatoly Sergievsky. The production is filled with opportunities for each of them to show off vocally, and show off they do. Each of the three sing this material exceptionally well–they are absolutely pouring their hearts out in these numbers. Michele’s “Heaven Help My Heart” and “Someone Else’s Story” are breathtaking, while Tveit’s “Pity the Child” and Christopher’s “Where I Want to Be” are powerful, fierce, and incredibly intense.
However, in many parts due to the book, it’s the dialogue that drags their performances down a notch. The songs have much more depth to them than the spoken lines, unfortunately, and while each of the three performers are giving strong takes on their characters, their acting between songs feels lacking, as if I can’t quite believe their interpretations once they leave the songs behind. Again, a large part of this comes from the flatness of the characters as written, but I do wish that these characters felt more fully fleshed out from start to finish. But, all in all, Michele, Tveit, and Christopher are delivering hefty performances each and every show. Michele is captivating, Tveit nails the seemingly care-free yet broken American star, and Christopher is an absolute powerhouse whose never-ending note is already taking the internet by storm. I commend them each for the energy, perspective, and impressive vocal prowess that they bring to their roles.
For me, Bryce Pinkham is one of the highlights of the show. Though not one of the iconic trio, Pinkham tackles the odd role of The Arbiter–both the show’s narrator and the actual arbiter (essentially the chess referee) of the tournament in the show–with charisma, flair, and an excellent touch of well-handled comedy. He is quite enjoyable to watch, and earns more than a few laughs from the audience with his campy quips and comedic timing. His rendition of the number “The Arbiter” is dynamic, and very well done.
Another standout is Hannah Cruz as Svetlana, Anatoly’s wife. Svetlana doesn’t appear until later in the plot, but once she enters, Cruz captures the audience’s attention immediately. She is passionate, she is fiery, she is proud, and she is hurting–and Cruz embodies all of that with strength, grace, and a show-stopping voice.
Bradley Dean is imposing as Molokov, the KGB operative who oversees the Soviet chess champions while getting his hands dirty on the backend of the tournaments as well. Dean deftly handles the role, conveying Molokov’s threatening presence without overdoing it. Likewise, Sean Allan Krill gives a strong performance as Walter, the American also twisting things around behind the scenes of the tournament.
Bryce Pinkham and the cast of Chess on Broadway (Matthew Murphy)
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Aaron Tveit and the cast of Chess on Broadway (Matthew Murphy)
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The scenic design of Chess is on the simpler side of Broadway grandeur. Scenic designer David Rockwell creates interesting levels with the upstage balconies, which also house the orchestra, who are visible to the audience. The bulk of the stage floor is left open to allow room for the choreography of the larger ensemble numbers, with seating around the edge of the space for the ensemble as well. Lighting designer Kevin Adams leans into the pop/rock concert style quite a bit, with blazing spotlights and wild colors. Peter Nigrini’s video design adds an interesting element to the setting, bringing in live “news” feeds and other visuals on the upstage wall. John Shivers’ sound design is strong, and the overall sound balance on the show is well done–always a tricky task for shows with a powerful score like Chess.
Costumes by designer Tom Broecker are sleek and effective, capturing the sharp professional feel, while maintaining a flattering look for each of the characters. Suits and shades of blacks and greys make up the majority of the garments. Hair, wig, and makeup design by Luc Verschueren for Campbell Young Associates nicely compliments the overall character designs.
Costumes by designer Tom Broecker are sleek and effective, capturing the sharp professional feel, while maintaining a flattering look for each of the characters. Suits and shades of blacks and greys make up the majority of the garments. Hair, wig, and makeup design by Luc Verschueren for Campbell Young Associates nicely compliments the overall character designs.
Lea Michele and the cast of Chess on Broadway (Matthew Murphy)
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Aaron Tveit and the cast of Chess on Broadway (Matthew Murphy)
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The revival of Chess is flashy, it’s explosive, it’s a visual treat–that’s for sure. There are some fantastic vocal performances taking place on that stage, and Pinkham’s take on The Arbiter alone is worth the price of admission. However, it’s still Chess. It’s certainly enjoyable for the spectacle of the show, but I can’t say it is–or was–one of my favorites.
Chess is now playing at the Imperial Theatre on Broadway. Learn more and purchase tickets at chessbroadway.com. Production photography is by Matthew Murphy.
Kiersten Bjork is a professional theatremaker, performer, and reviewer (Connecticut Critics Circle) from Branford, CT.
Chess is now playing at the Imperial Theatre on Broadway. Learn more and purchase tickets at chessbroadway.com. Production photography is by Matthew Murphy.
Kiersten Bjork is a professional theatremaker, performer, and reviewer (Connecticut Critics Circle) from Branford, CT.