The semi-staging of the concept of "Chess" works very well in some aspects, but reveals the weaknesses that Rice, Ulvaeus and Andersson made so many attempts to resolve. This filmed concert has its own weaknesses in some areas, too.
That the (revised) plot is somewhat dated is not at all a problem. There is enough drama to maintain interest in the characters and their motivations, all against the clever foil of timeless game.
The staging did not benefit as much as it could have from its layout or from the animations in the background which added valuable information but whose execution was at times tacky and amateurish. I had the impression that the dancing could have been better rehearsed, but even then seemed uninspired and supported the plot and visuals but without adding anything beyond breaking some of the static nature of the blocking of the singing characters.
Musically, the unevenness of the score becomes apparent in the use of the choir and the uninspired recitatives that seem to be trying too hard to join the musical numbers together in a way that is not apparent in the concept album.
There are very noteworthy performances that held my attention: Pascal, Bedella, Ellis and Peters were all in very fine form, adding richness to their interpretations. Pascal in particular dealt more than adequately with the vocal demands of the role and excellent characterisation. Groban was vocally certainly capable and very pleasant to listen to, although I found his characterisation a little too earnest and mawkish for the character of Sergievsky: in particular, his sudden infatuation with Florence Vassy was not convincing. Pellow was competent, although the part in performance and voice could have done with more gravitas.
It was Idina Menzel's performance that contributed most to my disappointment. I think she was poorly cast and possibly vocally too immature for Vassy and would have benefited from a master class with a dramatic operatic soprano or champion belter. With very little sense of the music, ensemble work, nuance or dynamic range, she belted her way enthusiastically and athletically through everything. Her excessive melisma and vibrato were in my opinion generally unnecessary and ill-judged, at times creating harmonic distractions from the score and ensemble to the detriment of the whole. Physically and emotionally she did not appear to embody any of Vassy's character at all, focusing only on getting the notes out. Loudly.
For any fan of the musical, it is a pleasure to see and hear this concert version, and it is recommended, but prepare for some disappointments.
