Broadway Revivals See Mixed Fortunes: “Ragtime” Soars,”Chess” Stumbles
New York,NY – November 21,2023 – A wave of ambitious revivals is currently reshaping the Broadway landscape,with markedly different results. While a newly refreshed production of “Ragtime” is being hailed as a powerful and resonant return, the latest iteration of “Chess” is facing criticism for a lack of cohesion and emotional depth, according to a review published today by ArtsFuse.
The contrasting fortunes highlight the challenges of revisiting iconic musicals – balancing respect for the original work with the need for fresh interpretation. “Ragtime,” which reopened on Broadway this fall, is described as successfully reclaiming its strength, while “Chess” appears to be lost in translation.
The review, penned by Christopher Caggiano, details notable issues with the current “Chess” production. Caggiano argues the show suffers from a “flippant” tone that undermines dramatic weight, leading to audience laughter at inappropriate moments. He points to a self-aware, meta-theatrical approach – including acknowledging characters without dedicated songs – as contributing to a sense of superficiality.
“The problems compound in Act Two, where the show should tighten, but it disperses instead,” Caggiano writes. He specifically criticizes staging choices,such as a mini-reprise of “Nobody’s Side” before “Pity the Child,” which “kills the momentum.” He notes that Aaron Tveit’s performance of “Pity the Child” is “sabotaged by its setup,” and describes Tveit beginning the song “curled into a fetal position, which tells you everything about the production’s tendency toward the literal and overdetermined.”
Despite the production’s shortcomings, Caggiano praises the performances of Aaron Tveit (Freddie Trumper) and Nicholas Christopher, noting Christopher “knocks the Act One closer, ‘Anthem,’ out of the park.” However, he finds Lea Michele’s portrayal of Florence Vassy to be technically proficient but lacking in emotional authenticity, stating she “hits the marks without giving the role any inner life.”
The review concludes that the ending, revealing Florence’s father’s fate, feels rushed and underdeveloped, emblematic of the production’s broader issues. caggiano points to the show’s history of numerous rewrites – including versions in London,on Broadway,and various regional productions – as evidence that “Chess still hasn’t found a way to make its story work.”
Originally premiering on Broadway in 1986, “Chess” is a rock opera exploring the Cold War tensions played out through a chess championship. The musical, with music by Benny Andersson and Björn Ulvaeus of ABBA and lyrics by Tim Rice, has undergone several revisions in attempts to refine its narrative and emotional impact.
Christopher Caggiano is a freelance writer and editor based in Stamford, CT, with extensive experience covering theater for publications including TheaterMania.com, American Theater, and Dramatics magazine. He also previously taught musical-theater history for 16 years and is currently working on several book projects.
