Chess the musical
Creators: Tim Rice, Benny Anderson and Bjorn Ulvaeus
Venue Nottingham Theatre Royal
Runs from Weds 28th October to Saturday 31st October 2026
Director/choreographer: Justin Lee
Musical Director: Jonah Williams
Right, where is it? Where is it? I am sure I spotted it on my bookshelves the other year. It isn’t used very much, as often, indeed, as I might like it to be – but now I need it. I absolutely need it. (urgently scans books). English dictionary. Thesaurus. British Musical Theatre Since Cavemen Days including cave dance drawings of Bison the musical. Stephen Sondheim’s Unspoken Childhood Memories in Rural China. Triple Threat Dancing Spiders of The World. Jazz Hands Moves For Happy Clappy Invalids. It has got to be here somewhere (over a rainbow). Got it!!!!!! Yes! Here it is! The Big Bouncy Book of Superlatives For Musical Theatre Lovers. I definitely need that blessed tome to write this review of Nottingham Operatic Society’s production of ‘Chess’ seen this very afternoon at Nottingham Theatre Royal from the upper circle.
What words can I use to convey just how blummin’ great this fully staged production confidently directed and choreographed by Justin Lee, is? Well it certainly isn’t amateur except by licence only. The whole production from set to vocals, from vocals to slick and inventive choreography, to well thought through costuming and stunning lighting design and musicianship just shouts total professionalism. It is superb, splendid, magnificent, sophisticated, flawless, high class, outstanding, phenomenal, stunning, breath-taking, incredible and a massive audience pleaser for both the heart, the ears and the eyes. You think I exaggerate (embellish, overstate, magnify or hyperbolize?} I do not. Not in the slightest.
Photo images: Martin Holtom and Stuart Reekie
The leads are everything one could hope for and tenor Ollie Last’s Frederick Trumper (American Chess Champion) is well sung and commands the stage whenever he appears and he is unrecognisable from his portrayal of Jean Valjean in Les Misérables. His rendition of ‘Pity The Child’ in the second half is heart-breakingly good. It comes as no surprise that his stage relationship with Kirt Hammonds’ Anatoly Sergievsky the Russian Chess champion, creates real emotional sparks. Baritone Hammonds was also in Les Miserables as Inspector Javert. I confess the power of Hammond’s ‘Anthem’ brings tears to my eyes. And that is a rare phenomenon normally reserved for moments when I run out of milk. Both versatile actors are a real credit to this production of Chess and make it the huge theatrical success it deserves to be this week. These are no means easy roles to play and it is full credit to Nottingham Operatic that these talented gents have been chosen to play them.
From previous productions I don’t recall Alexander Molokov being so present in the story of Chess but I am pleased to report that baritone Simon Theobold (always brilliant in character roles – the nastier they are, the more he revels in them) is a character that regularly pops up to upset the ‘telezhka s yablokami’. Keep up. It is Russian for apple cart. You knew that.
Theobold has a beautiful and powerful deep singing voice and is the perfect choice to be cast as Molokov. For those that follow Nottingham Operatic Society’s big productions, Theobold was an excellent M.Thenardier.
Although male dominated, Chess does give a couple of inspiring female lead roles firstly with mezzo soprano Florence Vassy played and sung extremely well by Lucy Haigh and – somewhat late to the Chess party – Svetlana Sergieskaya in a short but impressive appearance by Cat Perry. For audience members with their ears primed for well known songs the duet ‘I Know Him so Well’ goes down a treat. Haigh’s constant presence in the musical as Vassy gives the romantic and betrayal elements integral justification. She is terrific. They both are.
One thing you are unlikely to see in professional production is the massive ensemble that Nottingham Operatic employ and who play citizens, delegates, merchandisers, civil servants, cronies and monks. Many of them are engaged in very quick costume and make-up changes throughout the show. At the last count there were in the region of nearly forty and the orchestra is twenty-seven strong including conductor Jonah Williams.
If you are a fan of the show’s prime musical numbers such as ‘You and I’ , ‘One Night In Bangkok’, ‘Nobody’s Side’ ‘I Know Him So Well’ and ‘Where I Want To Be’ all featuring in this musical about a Cold War love triangle you need to book asap before they sell out this week at Nottingham Theatre Royal. It is an epic production that is going to stay in the Nottingham theatre goers minds and hearts for a long time.
