There exists no definitive version of Chess, a fact that now allows theaters to chop, dice, mix, and stir ingredients from its various incarnations into a custom-made creation. And that's exactly what Custom Made Theatre has done for its production of the London hit musical that was improved to death on its way to Broadway. Touted as one of the transatlantic behemoths that were traveling from London to New York in the 1980s, Chess is now receiving a chamber-sized production that allows you to focus on the material �" which can be a mixed blessing.
With its Cold War backdrop of undercover spies, changing allegiances, unexpected treachery, and romantic alliances, Chess is still about chess, not that you need to know anything about the game other than it's harder than checkers. That is difficult to musically dramatize for two-and-a-half hours, even in a world where all characters become metaphorical game pieces in a battle between unseen powers. There are moments when the audience reaction may well be, hey, do we really need a song at this point?
Songs in musicals are usually reserved for those moments when something emotionally important needs to be communicated, but since there is no spoken dialogue in this version of Chess, everything is expressed in song whether or not the moment deserves it. And even when it doesn't, or perhaps to compensate for the fact that it doesn't, the songs by lyricist Tim Rice (Evita ) and composers Benny Andersson and Bjorn Ulvaeus (the male half of ABBA) can become overwrought in that Jean Valjean/Inspector Javert sort of way �" and with no hints of the bouncy Mamma Mia! sound.
Working as Custom Made's dramaturge, Stuart Bousel had several sources from which to draw for the current production, including the original concept recording, a concert version, and the successful London production of 1986. The radically overhauled version for Broadway that added spoken dialogue and upended the plot, and flopped miserably, does not seem to be part of what has made it to the stage.
Now back in its sung-through form in the intimate Custom Made space on Sutter Street, director Brian Katz's production becomes something of a staged concert with a unit set, costumes not too far from street wear, minimal props, and occasional dance moves choreographed by Daunielle Rasmussen. Focus is concentrated on the performers, whose main mode of communication is through song. There is passion behind all the performances, though the vocal skills in communicating that are variable.
The tale's main protagonists are Freddy Trumper, an obnoxious American chess genius in the Bobby Fisher mode, and Anatoly Sergievsky, his Soviet-controlled challenger of quavering loyalties, and together they are in Italy for a propaganda-rich showdown tournament. Mischa Stephens has the right kind of arrogant swagger as Freddy, but the songwriters can push his songs into a kind of power falsetto that pushes his voice to the limits. As Anatoly, Chris Uzelac is appealing with his character's efforts at understated honor, but his songs often have unexpectedly bombastic intensities that Uzelac delivers with hammering blows.
Anatoly has a wife and children back in Russia, but he's more interested in defecting to the West and hooking up with Freddy's former assistant/lover. Florence shuttles between the chess masters, for both romantic and strategic reasons, with Leah Shesky not quite mustering the strength of personality or voice that the central character needs. Heather Orth may not make an appearance until the second act, appearing in Bangkok to reclaim her Russian husband, but from the opening notes of her first song, the audience knows that at last a proper voice has arrived on stage.
Music director Armando Fox ably leads a four-piece band through the musically complicated nonstop score. It's a score that belongs to its time, the mid-1980s, when ponderous rock opera was in vogue. If Chess did not do much to advance that form, Custom Made Theatre is providing a rare opportunity to actually see this mighty if misguided effort.
Chess will run at Custom Made Theatre through Oct. 15. Tickets are $25-$45. Call (415) 798-2682 or go to custommade.org.