Nobody’s on nobody’s side – an all-star cast can’t save this game of Chess from itself, for me at least
“From square one I’ll be watching all sixty-four”
It’s taken over 30 years for Chess to return to the West End (though it was seen at the Union in 2013) and though it has a huge amount of resource thrown at it in Laurence Connor’s production for English National Opera, it doesn’t necessarily feel worth the wait. An 80’s mega-musical through and through with an intermittently cracking score from ABBA’s Benny Andersson and Björn Ulvaeus, Richard Nelson’s book hasn’t aged particularly well and bears the hallmarks of the substantial tinkering it has had at every opportunity.
It’s not too hard to see why it has needed the tinkering. The mix of Cold War politics told through the prism of rival US and Soviet chess Grandmasters, love triangles and power ballads is a tricky one to get right and part of the problem seems to be just how seriously to take it all. On the one hand, the chess matches are backgrounded with montages of the real-life tensions of the 80s; on the other, scenes that take us through the various locations of the tournaments are a cringeworthy riot of cultural stereotyping that revel in their utter kitsch. Continue reading “Review: Chess, London Coliseum”
“Beneath this mask I wear, there’s nothing of me”
I hadn’t originally intended to get a ticket to see Phantom: Love Never Dies, being appalled at the ticket prices when it was announced, but when the National Lottery gods smiled on me and I got four numbers and £64 (the price of a middle stalls tickets plus booking fee) I decided to take the plunge to see if indeed love never dies or whether I needed a defibrillator in my manbag.
It has been billed as a stand-alone story, ie not a sequel despite the strapline being ‘the story continues’… and most of the main characters being taken from Phantom of the Opera, the only new addition amongst the leads is Gustave, Christine’s 10 year old son. The action here takes place ten years after the events of Phantom, the masked man having fled to New York and set up a fairground/freakshow at Coney Island called Phantasmaland. Madame Giry and daughter Meg travelled with him, Meg being one of the performers in the show and looking to make it big in showbusiness through being showcased here.
However, Phantom anonymously invites Christine Daaé to come and sing at this prestigious new venue, an offer she is forced to accept as husband Raoul is now a heavy gambler, and a drunk. So they arrive in New York with son Gustave, and it soon becomes apparent that there’s more than just singing on the menu, as secrets and lies from the past rear their head, long-suppressed feelings rise to the fore and frustrated ambitions boil over with shocking results. Continue reading “Review: Phantom: Love Never Dies, Adelphi”