“A fantastic show with some truly standout moments”
“Chess” takes us back to the 1980s, with the story of a chess tournament told against the backdrop of the Cold War, as US world champion Freddie Trumper (Ollie Last) takes on Russian chess player Anatoly Sergievsky (Kirt Hammonds). With music from Benny Andersson and Bjorn Ulvaeus, and lyrics by Tim Rice, the musical features plenty of upbeat numbers, which is accompanied here by Justine Lee’s choreography, which makes full use of the group’s extensive ensemble. The musical may be overly dramatic at points, and perhaps places too much significance on the outcome of a board game, but there is an inherent campness that makes the entire production a lot of fun.
The story is set up by Chris Heeley’s Arbiter in opening number “The Story of Chess”. Ensemble members appear dressed as different chess pieces – Queens, Kings, Bishops, Knights and Pawns – and are conducted by Heeley around a vast chess board which fills the space and is where the action takes place. The pedant in me particularly enjoyed the fact that the choreography mimicked the suitable moves for the chess pieces – knights move in L-shaped steps, whilst the bishops cross the space diagonally. When pieces are “taken”, they stab each other, reminiscent of wizard chess in the Harry Potter series. This opening number helps to set the tone – the game is vicious, but this production isn’t going to take things all too seriously.
At its heart, the musical tells the story of a love triangle between Trumper, Sergievsky and Lucy Haigh’s Florence Vassy, who begins as Trumper’s second but can’t help being attracted to Sergievsky’s strong and stoic mannerisms. As a result of their blossoming romance, Sergievsky decides to defect to the West, and the plot of the second act becomes embroiled in messy politics as tensions grow between the USA and the USSR. As Sergievsky, Hammonds delivers a stand-out performance in the Act One closer “Anatoly and the Press“, whilst it is Last who perhaps delivers more consistent vocals throughout, shining in “One Night in Bangkok” which provides an exciting, colourful opening for Act Two.
The set design is brutalist and imposing, large concrete pillars and walkways framing the dramatic chess board, whilst a set of TV screens, fitted together like Tetris blocks, displays Matt Powell’s video design, which helps with scene setting and also shows various news clips as the chess matches gain global attention. Tom Mowat’s lighting design features shuttered spotlights that create square and rectangular lighting blocks that mirror the checkerboard patterns and angular set, whilst the choreography is also filled with harsh, sudden movements, although the timing is sometimes a little off.
Musical director Jonah Williams conducts a band that is on top form, and the music is exciting and dramatic – never before has a chess match felt so intense! Thankfully, the tension is broken a little with a full cheerleader routine to kick things off, and one thing is for sure, there is no discrimination here, with cheerleaders of all ages and genders strutting their stuff before Trumper and Sergievsky take their seats at the board. I doubt chess matches have cheerleaders in real life (although my knowledge of professional chess tournaments doesn’t extend much further than Netflix’s The Queen’s Gambit so I could be wrong), but by this point we have fully bought into the idea that chess is of utmost importance to these characters and the world of the play.
We are brought down to Earth a little in the second act as Sergievsky’s political allegiances are called into question. His former mentor, Alexander Molokov (Simon Theobald) has trained up a new protegé, and Anatoly must now play against him for the world title, whilst American media mogul Walter de Courcey (Daniel Bogod) is trying to ruin Sergievsky’s game in return for the freedom of some American prisoners. It’s all a little convoluted, but the plot thankfully takes a backseat to exciting dance numbers and showstopping vocal performances – none more so than an excellent rendition of the show’s biggest tune “I Know Him So Well”, as Sergievsky’s wife Svetlana (Cat Perry) comes face to face with Florence. Both Perry and Haigh are phenomenal in this moment, their performances utterly captivating, and this proves to be the true emotional climax of the show. In fact, the performances from Haigh, Perry, Last and Hammonds are all so astounding that it definitely takes the idea of “amateur theatre” to a new level.
This is a fantastic show with some truly standout moments. It is always a joy to see Nottingham Theatre Royal continue to support amateur groups, which provide some cheaper ticket prices but do not mean a drop in quality. Everything about this production, from the set to the costumes to the choreography, has been lovingly put together to tell a story that is bizarre at times, sure, but full of heart nonetheless.
Tom Morley, November 2026
Review Round-up:
East Midlands Theatre: Chess – 5* from EMT, who call this “an epic production that is going to stay in the Nottingham theatre goers minds and hearts for a long time”
The Curtain Theatre Reviewers: Chess – 5* also from The Curtain Theatre Reviewers, who say that this is “an outstanding production, a genuine West End-quality experience”
TheatreBean: Chess – And another 5* from TheatreBean, who sum up by saying “this production is pure artistry. There are moments of exquisite beauty, combined with a cold darkness, that is an experience unique only to the theatre”
