Dundalk Community Theater presents a checkered game of Chess

For more than a decade, the music of ABBA topped pop charts around the world. Composer/writers Benny Andersson and Björn Ulvaeus turned out a string of catchy hits, like Mama Mia; Voulez-Vous; Honey, Honey; and Dancing Queen.  Then along came the eighties.  Disco died, the two girls left, and Björn and Benny met their Waterloo.

Chess, The Musical, is the current offering by The Dundalk Community Theater (DCT).  Directed by John Amato, with music by Andersson and Ulvaeus; lyrics by Ulvaeus and Tim Rice, and book by Richard Nelson, Chess is quite frankly a musical mess.  Set during the waning days of the Cold War – when sporting events like ping-pong and chess were used to both stimulate dialogue and to score propaganda points – Chess tells the story of a love triangle between two champion caliber chess players and the woman who manages one (an American) but falls for the other (a Russian).

Steve Antonsen (Anatoly), Tom Wyatt (The Arbiter), Ken Ewing (Freddie).  (Photo courtesy of DCT)
Steve Antonsen (Anatoly), Tom Wyatt (The Arbiter), Ken Ewing (Freddie). (Photo courtesy of DCT)

Chess premiered in London’s West End in 1986, two years after the release of a celebrated concept album.  Though the show was successful running in London for three years, a completely revamped version opened on Broadway in 1988 with a four hour show which included a 90 minute intermission due to technical difficulties.  Not surprisingly, that production closed after 17 previews and 68 regular performances.  Owing to the original album, Chess continues to have a devoted following.  But no one has dared to attempt a revival in either London or on Broadway.DCT took a chance producing a show with such a checkered past.  Unfortunately, the result mostly left this reviewer in check.

The cast includes Ken Ewing as Freddie Trumper (the American), Amy Agnese as his Hungarian-born manager Florence, and Steve Antonsen as Anatoly Sergievsky (the Russian, of course).  None of the leads are terribly convincing, but then, they don’t have much to work with.  The plot leapfrogs from line to line, leaving the audience often wondering, “Why?”

“Why is Freddie such an ass?”

“Why is Anatoly really eating that yogurt??”

“Why is Florence kissing that short, fat, bald-headed bari-tenor???” (One woman close to me actually let out an audible gasp.)

Timoth Copney (Walter), Steve Antonsen (Anatoly), Jim Handakas (Molokov)
Timoth David Copney, Ken Ewing, Amy Agnese, Steve Antonsen, Jim Handakas, Lisa Pastella-Young. (Photo courtesy of DCT)

The kiss actually came as an overdue moment of musical silence.  Agnese is both a competent actress and an attractive woman, but the vocals were clearly out of her range.  It’s not good to sit in the audience during a solo and realize you are thinking the same thing Andersson and Ulvaeus were probably thinking when they wrote the score: “Wouldn’t it be great if we could get Agnetha Fältskog to sing this part?”

A  number of missteps are in this production.  Motivation-less movements; shrill voices mercilessly over amplified, and accents which seem to come and go.  But the oddest part was the choice of wigs for the women in the chorus.  The ill-fitting tresses ran the gamut of over-produced musicals from 42nd Street to Miss Saigon.  Figuring out the hairstyles of the 1970’s might have been easier for the make-up department if they would have just looked at a few ABBA album covers.

The most memorable number from Chess is One Night in Bangkok, a former top five hit.  The staging of this number is spirited, though most of the cast looked simply ridiculous.  Particularly egregious was  Ewing.  Think Rush Limbaugh doing a pole dance.

Sara Simpkins, Ken Ewing & Tracey Zimmerman. (Courtesy photo DCT)
Sara Simpkins, Ken Ewing & Tracey Zimmerman. (Courtesy photo DCT)

Talented supporting players Jim Knost and Lee Knox are wasted in thankless parts.  Jim Handakas spent much of his turn as Molokov channeling Dracula.

Only Timothy David Copney as Walter Anderson and Tom Wyatt as the Arbiter stand out.  Copney hit just the right note with his portrayal as a not-quite-by-the book government agent.  Wyatt has some truly delicious moments in his musical numbers.  Those obliged to see this show will certainly enjoy the Overture and The Arbiter’s Song.

Aside from the tendency to over-mic razor thin voices, the production values in Chess were mostly top-notch.  This show also featured a live orchestra – a novelty in today’s musical theater.  The orchestra, under the baton of Tim Vets, did their best with a difficult score.

Chess: The Musical runs from now through May 5.  Running time of the first act is an excruciating one hour and ten minutes.  After that, you are on your own.  Tickets and other information may be found here.

 

 

 

 

 

 

 

 

6 thoughts on “Dundalk Community Theater presents a checkered game of Chess

  • May 19, 2013 at 1:22 AM
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    I’m actually six feet tall. And yes, I am bald and a tad over weight. Don’t worry folks. I know I can sing and am an okay actor. Below the belt commenting on my appearance is probably not the most effective way of “reviewing” the show. Yes it has a problematic book, and no, I’m not the perfect Anatoly in terms of appearance. But I had fun. As did the whole cast. Which in the end, is all that matters.

  • May 5, 2013 at 12:49 AM
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    Inaccurate. The quality of the book and the demands on the vocalists make Chess a notoriously difficult production. Agnese, Antonsen, and Ewing are the obvious highlights of this production. The community is fortunate to have such professional-level talent.

    Regarding the unnecessary “short, fat, bald-headed bari-tenor” comment, allow me to come down to your level for a moment to illustrate the point:

    Your profile picture is visible to readers. He who lives in a glass house …

  • May 3, 2013 at 6:00 PM
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    Wow, some pretty cruel comments for a community theatre review.. fortunately for DCT (not DCP), three other reviewers including two from BroadwayWorld.com and the MD TheatreGuide (some of whom even saw the same exact performance) gave the show phenominal reviews…check out http://dc.broadwayworld.com/article/BWW-Reviews-Cheers-for-CHESS-at-Dundalk-Community-Theatre-Go-for-the-Voices-20130430,
    http://dc.broadwayworld.com/article/BWW-Reviews-Cheers-for-CHESS-at-Dundalk-Community-Theatre-Go-for-the-Voices-20130430, and http://www.mdtheatreguide.com/2013/05/theatre-review-chess-at-dundalk-community-theatre/

    • Baltimore Post-Examiner Staff
      May 3, 2013 at 7:40 PM
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      Thanks for correction on DCT. Editor’s mistake, but really, are community theatre reviews off limits unless they are glowing and positive?

      • May 3, 2013 at 7:58 PM
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        Certainly not. Great reviews would not be worth much if they weren’t subject to be counter negative reviews as well. But lines like
        “Why is Florence kissing that short, fat, bald-headed bari-tenor???” are below the belt shots that just are unwarranted, and unnecessarily disrespectful of a brillantly talented performer.

      • May 4, 2013 at 4:39 PM
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        No, but they should be articulate and reflect at least some thought about a) what the story is about, and b) how the creative team and cast interpreted the work. Your critique (can’t call that a review) is nothing more than a series of insults. If Chess left you asking “why”, maybe you should hold your comment for musicals you can understand, like works of Rodgers and Hammerstein or Disney.

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