The electrifying first Broadway revival of Chess thrills with its starry cast and a new book that brings real stakes and much needed humour to its gloriously melodious score. 

Infamously tricky to stage, 1986 musical Chess has appeared the world over in multiple incarnations, its hit-packed score driving producers to find the winning edition. A key version, released as Chess in Concert back in 2008, was considered definitive at the time and yet its clarifications to the Cold War era plot still left audiences cold. 

Having flopped on Broadway in 1988, it has taken almost forty years for Chess to make its triumphant return. The new book, by Danny Strong, succeeds not just by clarifying the plot but by explicitly connecting chess and Cold War politics to create real stakes, deftly adding characterful back story as well as throwing in a healthy dose of winking comedy. 

In this new gripping version, the game of chess is not just a metaphor for politics but is presented as crucial to both sides as a foreground to the SALT-II negotiations of 1979 and the Able Archer 83 exercises. 

The mental health issues of American champion Freddy Trumper are portrayed authentically, Russian challenger Anatoly Sergievsky faces the very real prospect of execution if he loses, and Florence Vassy is given real agency as a highly capable tactician. 

The role of The Arbiter is boosted to that of a very helpful narrator, instantly winning and then continuously holding audience engagement with keen insight and deliciously daffy humour. 

The expert direction of Michael Mayer presents the story in clean bold strokes, keeping the characters real despite the heightened setting and maintaining tension with a thrillingly breathless pace. 

Choreographer Lorin Latarro works with a highly skilled company to present sharply focused, tightly performed dance that significantly boosts the entertainment value of the production.  

The much revered music and lyrics by Benny Anderson, Björn Ulvaeus, and Tim Rice are heard at their best under music director Ian Weinberger. Male ensemble number “Embassy Lament” is cut, as is the second “Chess” game of act one. Anatoly’s wife Svetlana sings new ballad “He Is a Man. He Is a Child,” with “Someone Else’s Story” sung by Florence as the 11 o’clock number before a surprising happy ending (no spoilers). 

Chess is staged in economic Chicago style, with the 19–strong orchestra on stage and no formal settings, allowing swift transitions as the story hurtles along. A full size rear LCD screen adds context and visual appeal with video design designed by Peter Nigrini. Lighting by Kevin Adams is nothing short of spectacular. Costume designer Tom Broecker uses simple, timeless designs with the only changes of costume really coming between the two acts as the story moves from 1979 to 1983. 

More than living up to their headliner status, the three leads each give superb performances, soaring through deceptively tricky vocals and generating vibrant electricity. 

Lea Michele juggles vulnerability and a core of steel as Florence more than holds her own in a male dominated arena. Michele’s immaculate vocals are reliably as passionate as they are pristine.

Aaron Tveit wipes away the memory of every previous tenor who has strained their way through “Pity the Child.” Tveit cultivates an aura of effortless cool for Freddie, dramatically underpinned by the ongoing strain of a struggle with mental illness.

Nicholas Christopher makes his mark as a newly minted Broadway leading man with a compelling, beautifully sung performance as Anatoly. Christopher’s seemingly infinite high note at the end of “Endgame” has to be experienced in person to be believed.

Bryce Pinkham provides delightful support as The Arbiter, holding the audience in his palm with impeccable comic delivery.

Arriving on stage in act two Hannah Cruz commands attention in this much less sympathetic interpretation of Florence. Cruz pairs perfectly with Michele for much-loved pop duet “I Know Him So Well.”

Clearly aimed at a sophisticated adult audience, the revival of Chess bridges the gap between the mega-musicals of the 1980s and the slick staging and power vocals favoured today. Long time lovers of the score should need no extra encouragement to attend, with the musical also living on for a new generation of fans.

The upcoming cast recording of the 2025 Broadway revival of Chess is highly anticipated.

Chess was reviewed 7pm Thursday 26 March 2026 at Imperial Theatre, New York. For tickets, click here.

Watch a clip of highlights of Chess: 

Photos: Matthew Murphy