Global geopolitics were centre stage in Mosgiel’s Coronation Hall on Thursday evening. The full house for Music Theatre Dunedin’s fabulous presentation of the Andersson, Rice and Ulvaeus’ show Chess witnessed the Russian-American rivalry between two chess champions.
Director Greg MacLeod has brought a visually stunning production to the stage, allowing the plot to unfold cohesively. This was supported by sumptuous lighting and costumes.
MacLeod’s vision uses excellent projections effortlessly appearing to alter the shape of the stage, and sliding screens changing the scenes magically. A colour palette of simple black and white with splashes of red was very effective.
Olivia Larkins’ excellent choreography encompasses a wide range of styles, with the opening two chorus numbers very slick.
Musical director Bridget Telfer-Milne conducted the 12-piece orchestra with authority, although there were some uncomfortable moments, no doubt due to the complexity of the music.
There was absolutely no weakness on stage, although there were some standout performances.
The dark Russian resonance in Max Beal’s voice allowed him to mould Anatoly Sergievsky as a good foil for the lighter voice of Ben Thomas’ suave and arrogant American, Frederick Trumper.
The lynchpin role of Florence Vassy was well characterised by Anna Langford, although the orchestral balance occasionally swamped her lower register.
The excellent Arbiter, Joshua Larkins, had the unenviable task of opening the show vocally and Jack Archibald excelled as Alexander Molokov with an impressive quasi-Russian accent.
The chorus sang with precision and robust vocal tone, despite the varied activities demanded of them — however, there is room for improvement with diction.
The final question asked by Florence Vassy is as pertinent today as it was in 1984 when the show was written.
Chess runs until Saturday. Don’t miss it.
