CHESS THE MUSICAL - REVIEWS 2026
EAST MIDLANDS THEATRE - REVIEWED BY PHIL LOWE
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Right, where is it? Where is it? I am sure I spotted it on my bookshelves the other year. It isn’t used very much, as often, indeed, as I might like it to be – but now I need it. I absolutely need it. (urgently scans books). English dictionary. Thesaurus. British Musical Theatre Since Cavemen Days including cave dance drawings of Bison the musical. Stephen Sondheim’s Unspoken Childhood Memories in Rural China. Triple Threat Dancing Spiders of The World. Jazz Hands Moves For Happy Clappy Invalids. It has got to be here somewhere (over a rainbow). Got it!!!!!! Yes! Here it is! The Big Bouncy Book of Superlatives For Musical Theatre Lovers. I definitely need that blessed tome to write this review of Nottingham Operatic Society’s production of ‘Chess’ seen this very afternoon at Nottingham Theatre Royal from the upper circle.
What words can I use to convey just how blummin’ great this fully staged production confidently directed and choreographed by Justine Lee, is? Well it certainly isn’t amateur except by licence only. The whole production from set to vocals, from vocals to slick and inventive choreography, to well thought through costuming and stunning lighting design and musicianship just shouts total professionalism. It is superb, splendid, magnificent, sophisticated, flawless, high class, outstanding, phenomenal, stunning, breath-taking, incredible and a massive audience pleaser for both the heart, the ears and the eyes. You think I exaggerate (embellish, overstate, magnify or hyperbolize?} I do not. Not in the slightest.
The leads are everything one could hope for and tenor Ollie Last’s Frederick Trumper (American Chess Champion) is well sung and commands the stage whenever he appears and he is unrecognisable from his portrayal of Jean Valjean in Les Misérables. His rendition of ‘Pity The Child’ in the second half is heart-breakingly good. It comes as no surprise that his stage relationship with Kirt Hammonds’ Anatoly Sergievsky the Russian Chess champion, creates real emotional sparks. Baritone Hammonds was also in Les Miserables as Inspector Javert. I confess the power of Hammond’s ‘Anthem’ brings tears to my eyes. And that is a rare phenomenon normally reserved for moments when I run out of milk. Both versatile actors are a real credit to this production of Chess and make it the huge theatrical success it deserves to be this week. These are no means easy roles to play and it is full credit to Nottingham Operatic that these talented gents have been chosen to play them.
From previous productions I don’t recall Alexander Molokov being so present in the story of Chess but I am pleased to report that baritone Simon Theobold (always brilliant in character roles – the nastier they are, the more he revels in them) is a character that regularly pops up to upset the ‘telezhka s yablokami’. Keep up. It is Russian for apple cart. You knew that.
Theobold has a beautiful and powerful deep singing voice and is the perfect choice to be cast as Molokov. For those that follow Nottingham Operatic Society’s big productions, Theobold was an excellent M.Thenardier.
Although male dominated, Chess does give a couple of inspiring female lead roles firstly with mezzo soprano Florence Vassy played and sung extremely well by Lucy Haigh and – somewhat late to the Chess party – Svetlana Sergieskaya in a short but impressive appearance by Cat Perry. For audience members with their ears primed for well known songs the duet ‘I Know Him so Well’ goes down a treat. Haigh’s constant presence in the musical as Vassy gives the romantic and betrayal elements integral justification. She is terrific. They both are.
One thing you are unlikely to see in professional production is the massive ensemble that Nottingham Operatic employ and who play citizens, delegates, merchandisers, civil servants, cronies and monks. Many of them are engaged in very quick costume and make-up changes throughout the show. At the last count there were in the region of nearly forty and the orchestra is twenty-seven strong including conductor Jonah Williams.
If you are a fan of the show’s prime musical numbers such as ‘You and I’ , ‘One Night In Bangkok’, ‘Nobody’s Side’ ‘I Know Him So Well’ and ‘Where I Want To Be’ all featuring in this musical about a Cold War love triangle you need to book asap before they sell out this week at Nottingham Theatre Royal. It is an epic production that is going to stay in the Nottingham theatre goers minds and hearts for a long time.
THEATRE BEAN - REVIEWER S.M
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Last night TheatreBean were lucky enough to visit the Theatre Royal in Nottingham, this time for Nottingham Operatic’s production of Chess The Musical. With Music by ABBA’s Benny Andersson and Bjorn Ulvaeus, and Lyrics by Tim Rice, you know you are guaranteed an evening of incredible music. As we eagerly took our seats, the air was filled with an electric anticipation for the brilliance that was to unfold.
Leading Lady, Lucy Haigh, takes on the role of Florence Vassy with feminine power. This character is consistently torn apart by the politics and power struggles away from the game, and her own loss is used as a weapon of manipulation. Unlike other female leads, the vocal requirements for this role demand legit soprano combined with grit and powerhouse belting. Vassy didn’t falter. Her rendition of “Nobody’s Side” was an early highlight, demanding the support and attention of the audience. She delivered with consistency and power.
Kirt Hammonds as Anatoly Sergievsky is a perfect casting. Anatoly is a cool and composed chess player, whose game is not altered by outside noise. His enticing portrayal has the audience hooked. He commands the stage with a dominating presence, yet brings a softness to the character as he exposes an inner vulnerability within Anatoly. His penultimate number “Anthem” ends Act 1 climactically, with groundbreaking vocals and spine tingling characterisation that rang throughout the auditorium. Hammonds vocals are deliciously velvety and rich, yet he adds delicate nuance throughout that showcase his skill.
I believe what we witnessed with Hammonds was a once in a lifetime performance, unparalleled with other musical performances I have seen professionally and otherwise. This was magical, and I audibly gasped at his brilliance. This moment was unlike anything I have experienced in the Theatre before. This is a vocalist who knows his craft, understands his instrument, and effortlessly entwined this ability with a deep rooted truth and emotion. Simply breathtaking.
Ollie Last as Freddie Trumper is yet another fantastic casting that brilliantly showcases this performers ability. His character’s suave and cocky demeanour is quickly humbled after his character loses his World Champion Title. The vocals are incredibly demanding in this role, yet Last’s Tenor Voice effortlessly reaches these with ease and clarity. What I found incredibly impressive was the inner journey he portrayed. His acting ability in “Pity The Child” was raw, authentic and unapologetically real. There was a certain discomfort as we see his character unravelling before us. I was captivated.
Simon Theobald leading the Soviet’s as Alexander Molokov is yet another performer who has honed in on his craft, and delivers faultlessly in each role he is given. What is incredible about Theobald is his sheer versatility, he embodies each character beyond recognition and Molokov is no exception. His Russian accent is brilliant, and he leads “The Soviet Machine” with a dark and sinister humour that was incredibly gripping. The men in this number were brilliant, combined with the staging, the movement, the red and black aesthetic, it was a favourite moment of mine.
Opposition to the Soviets, we meet Walter De Courcey, played by Daniel Bogod. Bogod is another charismatic and charming performer, yet with a sinister edge. I noticed this instantly as his character was able to switch between a cheesy grin to an intimidating grimace. Another strong and gripping performance.
Chess is a game of black and white, and with no room for the grey of politics, is Chris Heeley’s Arbiter. His vocals were brilliant in his number, and I loved the way he orchestrated the movements of the ensemble. His character was portrayed with a rigid discipline and sharp edge that suited the role perfectly.
Although not featured in Act 1, Cat Perry certainly makes her mark in the role of Svetlana Sergieskaya. Her impressive vocal ability comes to the forefront in “The Deal”, and really showcases the broken relationship between Svetlana and Anatoly. The iconic number “I Know Him So Well” is beautifully performed by Perry and Haigh. Although in love with the same man, there is a strong sense of female empowerment and unity in this moment.
The staging for this production is incredible. With varying levels created by a concrete structure, and clever use of film and projection, the production is heightened. Elevating this even further is the colour palettes used to capture the mood and divide, using lighting and costume. Technically a masterpiece, vocally a triumph.
Director and Choreographer Justine Lee has brought something truly magnificent to the Theatre Royal. The movement and physical theatre creates an abstract illusion where the ensemble become the chess pieces. The concept is brilliant, and the execution divine. Jonah Williams’ Musical Direction compliments the score perfectly. The orchestration and vocals blend seamlessly, filling the theatre with a rich and harmonious brilliance.
If I were to describe this performance in one word it would simply be “Breathtaking”. Often we say that AmDram performances aim to challenge the line between processional and amateur, but the execution of this production supersedes the standards altogether. You could take this principle cast and place them on a West End stage without a shadow of a doubt, and THAT is why Amateur Theatre DEMANDS our attention and respect.
This production is pure artistry. There are moments of exquisite beauty, combined with a cold darkness, that is an experience unique only to the theatre. A performance such as this one is rare. Amongst the twee and the joyous modern musicals today, Chess brings an ugly edge that leaves you unsettled yet begging for more. With a complex plot, and standout music, there really is so much to sink your teeth into. I strongly urge anyone reading this to get their ticket. This is the performance of a lifetime.
REVIEWED BY KEV CASTLE
What could possibly be interesting about a musical about politics and the game of chess? If you've never seen this musical before, that may be a question that you may ask yourself. This is a musical which is based around a chess board and may be politically motivated, but this is also a musical about falling in love, as I’m sure you’ll find out by coming to check it out.
The story involves a politically driven, Cold War–era chess tournament between two men—an American grand-master and a Soviet grand-master—and their battle over a woman who manages one and falls in love with the other. “Chess”, although political in its plot, at its’ heart is a love story.
Written by Benny and Bjorn from Abba with Tim Rice adding lyrics you are guaranteed on an amazingly good soundtrack. But a soundtrack that is intricate in its' composition and not easy to sing, which is why it's not performed that often, especially by local theatre groups.
Several of the songs you will already know as “Nobody’s Side” was a minor chart hit for Elaine Paige, “One Night In Bangkok” was a massive hit for Murray Head and “I Know Him So Well” went to number one for Barbara Dickson and Elaine Paige”. But the cherry on the cake with this soundtrack is the gorgeous “Anthem” and the powerful and emotive "Pity The Child".
Right, let me start off by saying OMFG!!!!! This production is as if the Heavens had opened and a heavenly choir had descended to earth via the roof of the Theatre Royal, the vocals and orchestra were that good! The power, the drama the everything.... Now allow me to elaborate and dissect the four letters of OMFG, and I don't apologise for the "F" either.
I came out of the theatre at the end and was talking to a lady I'd met a couple of times before at the theatre and she was absolutely flabbergasted when I told her that this was not a professional touring production; never had her flabba been more gasted! In fact I've now seen three big musicals in two days and any one of them, in fact ALL of them could have been mistaken for professional West End productions, the area, and myself, have been spoilt for talented performers this week.
Anatoly Sergievsky is played by Kirt Hammonds and brings out the steely Russian brilliantly. Anatoly is at the top of his game on the world’s game stage. Driven by his ambition to be the best but unwilling to show the man behind that hardened exterior. That though starts to change when he meets and falls in love with Florence, and what happens out of Russia, stays out of Russia, until his wife and family are used in the political game of Chess. Kirt shows the push and pull of Anatoly’s personalities with great intelligence. His version of "Anthem" was spine tinglingly good, in fact every song he sang was spectacularly good. The passion and the power from that man's body just rocked my tingle meter. And guess what, he looks like a Russian and his accent is as if he had been brought up in Russia.
Playing Frederick “Freddie” Trumper, the American Chess champion, is Ollie Last, Ollie's vocals are also spine tingling and countered Kirt's deep tones with a clear higher register that could cut glass. His version of "Pity the Child" was so packed with emotion, I was half way to a standing ovation when he had finished. Trumper is fiery, exploding on stage, but clearly shows by the end of the show just how far he had come with quelling his temper. The opening of Act Two, which featured Ollie singing "One Night In Bangkok" was probably the best staging of that piece that I have seen, so awash with colour and energy, and combined with Ollie's excellent vocals which brought out the sarcasm of the lyrics. And what a great wig!
Florence Vassy is played by Lucy Haigh. Lucy has a belter of a voice that just gives you tingles when she lets fly with some of her notes. Florence isn’t your usual musical female parts. An intelligent, strong female character who is at the centre of this love triangle. I have always been a fan of Marti Webb's voice and Lucy's voice sounds so similar to Marti's; I'm also a massive fan of Lucy's voice, who wouldn't be?
Cat Perry plays Svetlana Sergievskaya, Anatoly’s estranged wife. You don't get to see that much of this character but as part of the duet, "I Know Him So Well" with Lucy, they set the hairs on the back of your neck rising, their voices blend so well. The duet between Cat and Lucy in "I Know Him So Well" was another one that sent the tingle meter going again.
The Arbiter, the man in charge of the Chess matches is played with authority by Christopher Heeley. Chris opens the whole musical with "The Prologue/Story Of Chess", which I couldn't remember in the productions that I had seen before. Part of the Ensemble came onto the stage dressed as the chess pieces and made for a very different show opening. Chris has one of those very recognisable voices that really stood out, even in the ensemble. There's a steely calm about The Arbiter which comes across so well with Chris.
Simon Theobald plays Alexander Molotov, Anatoly's conniving second who is apparently also a manipulative KGB agent! Simon has such a command of voices and accents and, like Kirt, delivers the perfect accent. His vocals are full of power and his stage presence commands you watch and listen to everything that he says and does on stage. Another top class performance from Simon, but then I expected nothing less from such a legend.
Walter de Courcey is a member of the American chess delegation, a representative for Global Television, and a covert CIA agent, is played by Daniel Bogod, who I last saw in "Guys n Dolls", and has a marvellous voice for this role.
The Reporters are portrayed by Nathan Curzon, Kate Taylor, Nathaniel Halls, Emily Trappen, Oliver Wheddon, Joanne Lale and Rosie Poesl.
The TV Presenter beamed onto the suspended piece of scenery is played by Owen Patten.
The Civil Servants, who have a brilliant comedy scene are played by Jarrod Makin, Owen Patten, Andrew Rushton and Jack Lawrence.
Leonid Viigand, Anatoly's final chess challenger, is played by Shaun Hanrahan.
An excellent ensemble made up of Adele Lee, Alexandra Hazard, Amanda Dixon-Smith, Andrew Rushton, Christine Boothe, Danniella Anderson, David Hails, Emily Trappen, Emma Shute, Emme Gunn, Evie Midgley, Hannah Haywood-Cupitt, Ian Pottage, Jack Lawrence, Jarrod Makin, Joanne Lale, Kate Evers, Kate Taylor, Kate Williams, Laurel Jones, Louise Fiddes, Louise Grantham-Lang, Louise Johnson, Marcia Wood, Nathan Curzon, Nathaniel Halls, Neil Ledward, Nick Smith, Oliver Wheddon, Owen Patten, Paul McPherson, Ray Mcleod, Rosie Poesl, Ruth Greaves and Shaun Hanrahan.
This Ensemble take on so many various roles and choreography styles, as well as some very acrobatic tumbling (I think this was Nathaniel).
Directed and Choreographed by Justine Lee. What can I say, it's the perfect production, there's absolutely nothing at all to fault with this show. It's perfect. The choreography is also perfect and I loved the opening and everything else choreography wise right up to the final bows, which I am really proud to say I started, and it wasn't just to show off my black and white chequerboard jacket, black and white tie, white shirt and black trousers either - I do like to dress appropriately for the theatre. In all seriousness though, how many times and how many superlatives can you outdo "PERFECT".
Musical Director is Jonah Williams. Everything Jonah does, and is associated with, is the equivalent to calling him King Midas. It is so lovely to hear these lush arrangements being played live by this twenty-six piece orchestra. And listen out to some of these pieces to spot a few "borrows" from other Tim Rice pieces from "Jesus Christ Superstar" - I spotted chords and melody from the song "Everything's Alright", as well as a couple of other numbers.
Costumes thanks to Wardrobe Manager Marion Fisher with Wardrobe Assistants Adele Lee, Emma Shute, Kate Williams and Linda Croston.
Excellent wigs thanks to Nottingham Operatic Society Wig hire and Lucy Haigh and Joanne Lale.
Set design is by Owen Patten. It is a triple level design, and with the size of the cast would need to be a multi-level staging to accommodate them all, when they are all on at the same time.
Stage Management is really important with this being such a big show and there are four Stage Managers listed. They are David Price (Theatre Royal), Matt Allcock (Company), Nigel Newton (Deputy) and Alison Hope (Assistant), all ensuring the smooth running of the stage.
Props are thanks to Caroline Harper and Ray McLeod.
Sound is by Rob Kettridge. Sometimes the sound at the Theatre Royal can be slightly disappointing, but not when you have a superb soundman like Rob at the helm. Crystal clear and best of all punchy and ballsy, which is what a musical of this status needs, but sometimes the sound engineer may be a bit shy at giving it the punch it requires, Not with Rob. The music is dramatic and volume adds to the drama. Thank you for that fearlessness where the volume was concerned.
Lighting Design, which is absolutely spectacular, is by Tom Mowat. Follow spotters are Cathy Bodman and Simon Carter.
The Video footage we see in this show is by Matt Powell, again another busy man as he is also performing each night this week at the Duchess Theatre in another musical banger "Sweeney Todd". Talent will always be in demand by people who recognise it.
Production Manager is Vicky Johnson.
The charity that Nottingham Operatic Society are supporting this year is Young Lives Vs Cancer and £1 from every programme sale will go to the fund, so please buy a programme when you come to see the show, and there's something for everyone in this one.
"Chess" is at the Nottingham Theatre Royal until Saturday 31 October. At these prices you won’t need to pawn a thing to be able to afford the ticket price, You’ll feel like a King with your Queen, you’ll have a great (K)night out, but the way tickets are going you may need to check, mate, that there are some available.
LEFTLION MAGAZINE - REVIEWED BEVERLEY MAKIN
A musical tale from the cold war that will give you goose bumps
Nottingham Operatic Society has a well honed reputation for turning out an annual pro grade theatre and this years show Chess is no exception.
I don’t remember the first time I listened to Chess or how many times I have listened since, but it's a favourite. One of the flurry of band driven modern musicals and rock opera of the 80s, with Bjorn Ulvaeus and Benny Andersson of Abba fame teaming up with Tim Rice who created the lyrics – it was always going to be amazing, despite the less than obvious topic.
At its heart it is a love story: a love of the game, a love of nation and a love of others, against a backdrop of the Cold War in the 1980s. First performed in London in 1986 there is a definite 80s feel but the beautifully crafted harmonies and powerful duets and solos don’t date.
Anatoly Sergievesky (played by the spectacular Kirt Hammonds) plays for the USSR, overseen by his scheming party minded second Alexander Molokov (played by the equally impressive Simon Theobald). His opponent is the arrogant American Freddie Trumper created with beautiful diction by a Florida suited Ollie Last and his Hungarian born English second Florence Vassy, played by the powerhouse of a voice Lucy Haigh. The Russians feel the pressure from Party and Homeland and the Americans from sponsors, 'agencies' and a media that is pushing the competition as an East vs West event.
The first international tournament is in the snow-capped mountains of Merano where the players seconds try to encourage some civility between a hostile Freddie and a cool Anatoly but to little avail. To throw the American team the Russians decided to angle for a romantic connection between Florence and Anatoly to throw Freddie, through a shared passion for chess and a shared early history in communist nations, but the tactical honey trap quickly deepens. Haigh’s performance of ‘Nobody’s Side’ then the ‘Mountain Duet’ with Hammond were spectacular with a real chemistry between them evident.
The story moves on with defections, deceptions and disappointments as their lives are played out like chess pieces, manipulated by the politics of the time. Freddie and Anatoly next meet at the following years world championships in Bangkok as Anatoly defends his title representing Britain and Freddie is a network reporter. It is here Freddie sings probably the most well-known song ‘One Night in Bangkok’. Anatoly retains his title but nothing else seems to be going in his favour. Is wife, Svetlana, from Russia is brought to Bangkok to unnerve him and try to coax him back to the Motherland. At this point we are again treated to a tremendous performance from Cat Perry as Svetlana who joins Haigh in another well-known song ‘I know him so well’.
The set was simple and spacious with an excellent use of lighting. Often filled with a very large ensemble, making for plenty of well-choreographed movement on stage. Lots of fun moments, including a massive lurid Bangkok neon street scene in some brave costumes, a vodka fuelled backstage booze up and dance session from the Soviet faithful and a particularly witty routine from a small troupe of British Bowler wearing Beauracrats helping Anatoly seek political asylum.
There were relatively few clunks and bumps from the beautifully multi-generational ensemble who performed the many harmonies perfectly. The leads, well, they really were something to behold. The opposing players and their seconds are packing Top Tier West End grade voices here, Nottingham Operatic are blessed to have them. The icing on the cake was the sizeable live orchestra, an added bonus and doubtless the best way to hear the score.
As always, the Nottingham Operatic Society have produced a superb production with performances that will give you goose bumps.