Chess in Concert With Josh Groban

Let me get this out of the way up front: as a musical, Chess doesn't work. It didn't work in London, it didn't work on Broadway, and it hasn't worked in any of the innumerable versions that have cropped up since. And it certainly doesn't work in the recently released concert version, a mostly tasteless affair partly redeemed by the music of Björn Ulvaeus and Benny Andersson, and the presence of Josh Groban.

I pay virtually no attention to popular music, so although I was aware of Josh Groban, I had never heard any of his work. I may need to seek out some of his other stuff, because I really liked what I heard. Groban has a rich, sonorous voice and terrific stage presence. And he shows admirable restraint amid the crass production (one word: choral-ography) and histrionic cast mates surrounding him.

Leading the charge toward excess is Idina Menzel as Florence. Oh, she can scream with the best of 'em, but her style has no subtlety, and her acting skills are rudimentary at best. Close on Menzel's overwrought heels is Adam Pascal, who exhibits here the same cloying vocal catches, scoops, slurs, and growls evident in the cast recording of Rent, as well as the same cardboard acting style. Although I do have to say that there seemed to be some genuine pathos in evidence during "Pity the Child."

The appeal of Chess has always been the gorgeous, chill-inducing music by Björn Ulvaeus and Benny Andersson, combined with Tim Rice's often-inspired but sometimes-clunky lyrics. The stripped-down book of the concert version renders the relevance of many of the songs opaque, if not incomprehensible. But even if Chess the show doesn't work, the songs do, particularly the soaring "Anthem" and the thrilling duet "You and I," both of which feature Groban to positively stirring effect.

The concert version of Chess reverts back to the structure and song list of the concept album and the London version of the show, restoring a number of admittedly fun songs that don't belong in the show, including "Embassy Lament," and "The Merchandisers," the levity of which throws off the show's tone. And "One Night in Bangkok" remains, as always, an irrelevant cheese-fest.

But the concert also includes "Someone Else's Story," which was written for the Broadway version, to be sung by Florence. However, in the concert version the song goes to Svetlana, Anatoly's wife. This makes no sense at all. Here is a song about someone deciding whether to stay or leave, but this character is not in that position; Anatoly has already left her. This change was probably made to accommodate one Kerry Ellis, who is currently playing Elphaba in the London Wicked. Which makes sense, because Ellis here has all the vocal restraint and acting talent of Idina Menzel. Which is to say, not much. 

So, there are two reasons to be interested in this concert: Josh Groban and the music. I say skip the DVD and buy the CD. Better yet, just buy the songs that have Groban on them. The folks at iTunes seem to understand this, and have priced the separate cuts accordingly: any track that features Groban costs $1.29, while the rest are 99 cents. (Heads up: All the songs are $0.99 at Amazon)

Chess has always been a show that's very close to my heart, ever since I bought the concept album in college. But I've long since given up hope that it will ever work as a show. It's probably time that the show's creators do the same.

Comments

[Kristin]

I'll fess up - I have a huge soft spot for Chess because I also found the concept album during college when I was just learning how much I loved musicals. It's (big sigh here...because I completely agree with you about its faults) one of my favorites, and I've been listening non-stop to the new CD since I bought it a week ago. Guilty pleasure, I guess!

[Michael]

You didn't mention how poorly it was directed and choreographed. What was that choreography? The cheerleaders? If you are going to keep the merchandiser song, maybe some kind of sales gimmick would make more sense. And I agree the choral choreography was just silly.

I have long been a fan of Josh’s vocals but I own no albums with him until now (Chess). (Although, he is on Barbra’s “Duets” album and they sound great together). I will say that, what you saw in Chess is what you will get. He doesn’t have the widest emotional range.

On Adam Pascal, usually flat and boring, but I thought this was the best thing I have ever seen him do, “Pity the Child” being the culmination. I thought his voice was so clear. Probably the best Freddie I have heard. I blame the script for the fact that his performance was aimless. What was his reason for anything he was doing after Florence left? Are they lovers? Not clear. Was he being paid off? I don’t understand.

I have already watched it twice. It took the second time for me to be sure that this isn’t working. I think a lot of the problem is the lyrics. They are clever but they don’t move the plot along and they are not true to the characters. A lot of times they just confuse things. And giving Svetlana “Someone Else’s Story” clearly demonstrates the creator’s lack of understanding for their own characters.

Anyway, saying all that, I still enjoyed it. I guess that says something. The next time someone does Chess is done, you know we’ll be there.

[Chris Caggiano]

Michael: Yeah, the choreography was atrocious, and not just the unbearably cutesy choir movement. I did like the idea of playing out the chess matches with people as the pieces, and it really could have been powerful, but the pedestrian dance moves prevented that from happening.

Another thing I didn't mention was the supporting cast and the chorus. Clearly, these people received little or no direction, because there wasn't a single supporting player, speaking or non-speaking, who seemed to understand what the show was about. And that includes all the singing chorus members, who seemed to have just graduated from an acting correspondence course. They all seemed too focused on broad facial expressions, two-dimensional line readings, and a whole mess of focus-pulling. Yeah, the only person on stage I found even remotely bearable was Groban.

[Encore Entertainment]

Started reading your blog recently. So you don't like Idina...you like Kristin Chenoweth?

[Chris Caggiano]

EE: I don't especially like or dislike particular artists or performers. I tend to take each performance separately. It just so happens that I've never seen Idina in anything that I liked her in. (Rent, Wicked, Chess) But I'm always open to the possibility that she might impress me in something in the future.

As for Kristin, I've enjoyed quite a few of her performances, particularly in The Apple Tree. But I found her irritating and shrill in Steel Pier, although that may have been the character I was responding to.

[Michael]

Regarding choreography; I saw the whole using them as chess pieces thing as well, but it was very unclear. He should have worked out the playing of the game by the actors with the choreography so you could clearly see who was winning and which piece was which.

These dancers where just doing some kind of artsy modern dance with no point, just like the other numbers. Did I mention the "Cheerleaders"?

[Michelle Markwart Deveaux]

Wow. Another person that doesn't think Idina is all that? I was beginning to think I was crazy. I like some of her vocal choices, but I find her to be inconsistent, and as a vocal technician it just makes me hang down my head and sigh. I fear for her vocal longevity! But, that is my perspective. But then again, I love Maria Callas and many thought/think her to be atrocious!

I really like Chess too, despite myself. Don't know why, really. I just do.

Just found your blog and will be making it everyday reading. Thanks!

[Andy P.]

I've enjoyed Idina in several projects but I felt she just wasn't vocally right for Florence. I actually bought Pascal as Freddie and while I, too, thrilled to Groban's vocals, his acting was.... well, I thrilled to his vocals.

To me, giving Svetlana "Someone Else's Story" made a small amount of sense. I see it as her reflecting that she had the opportunity--or at least she considered--leaving once but chose to stick it out, only to be left by Anatoly. I may be reading too much into it, but that's how I make it work in my mind.

And I agree--the directing/choreography were a mess. Although I did find the ballet-type "chess game" sequences interesting.

[Sandhya]

I agree with everything you said. I want to embrace Idina, but she consistently lets me down with the same sound, same formula....where is the range or skill for committing to the emotional structure of the character.....? Oh well...Josh Groban makes it worth listening to.