Customer Reviews

Chess (1988 Original Broadway Cast)

5 star:		(13)
4 star:		(9)
3 star:		(5)
2 star:		(4)
1 star:		(2)

 

 

While there are those who prefer the original, harder-edged British version, this Broadway version captures career-defining vocal performances by all three leads. The late David Carroll has never been better (at least on CD), and since the show favors his "Russian" character, he gets to shine not only in solo numbers like "Where I Want to Be" and the essential "Anthem" but in duets with Ms. Kuhn. Mr. Casnoff created the standard Broadway version of the rock screamer "Pity the Child" and though he shortly thereafter moved West, his take on the unsympathetic Freddie has always been the one to beat where this American version of the show is concerned.

Most spectacular of all, though, is Judy Kuhn's performance, from one end of this CD to the other. I know of no other single recorded vocal performance by any other female Broadway singer over the past 3 decades which I find more thrilling than her performance here. It's dark, intense, musky yet crystal-clear, with a vocal strength that's almost impossible to believe. There is no sense of two registers here. You can call it a "mix" if you like, but it sounds like one thread of solid vocal sound matched up and down the spectrum of her singing voice. The "Someone Else's Story" powerballad was written for her and it is as spectacular a match of individual vocal strengths to material as one could ever hope for. Judy Kuhn's Florence is spunky, intensely dramatic, sarcastic and finally ecstatic in things like "Terrace Duet" and "You and I" with David Carroll. In a CD filled with spectacular vocal turns by major contemporary Broadway voices of a decade ago, it is Ms. Kuhn's performance which is the main reason to own this CD.

Again, they sang this thing Broadway style (which is substantially different from the original British approach) and if you prefer it rocked-out, this is not for you. But if you care about Broadway singing at all, you must own this CD, and if you want to hear some of the most impressive singing by a woman in the entire pantheon of contemporary musical theater, Judy Kuhn in CHESS is never-to-be-forgotten, not-to-be-missed.

-Michael Moricz, Astoria NY

CHESS has had several incarnations--from the Chicago edition, to the original British version, to this the original Broadway (American) cast. Tim Rice thought of the idea for the musical and wrote the lyrics and during the 1980s, it kind of became his obsession; i.e. CHESS is to Tim Rice as E.T. is to Steven Spielberg as STAR WARS is to George Lucas. Rice corraborated on the project with half of ABBA (Benny Anderson and Bjorn Ulvaeus): they wrote the music and what beautiful music it is. The show was only on Broadway for about 3 months (Apr-June) in 1988 before being cancelled. Perhaps because the Cold War was waning, but at the time there didn't seem to be much of an audience for it. However, the Cold War ended 16 years ago and the show has grown in status over the years. The musical tells the story of an American chess player (loosely based upon Bobby Fischer) and his Russian counterpart. The American's lover and coach leaves him for the Russian. The Russian professes his love, but he's torn because he already has a wife and children back in the homeland. The play portrays the Russian as being the victim, but if you really think about it, he's not. I find the music of the show to be particularly moving and many of the lyrics are haunting. "Where I Want To Be", "Nobody's Side", "I Know Him So Well", and "Pity the Child" are all wonderful songs, tainted with melancholy. "One Night in Bangkok" actually became an international pop hit. However, the main reason that I like this album more than the other versions of the show is the inclusion of the song "Someone Else's Story". There just seems to be so much depth and emotion in that song that it stirs something in my soul everytime I hear or sing it. Most fans of CHESS prefer the more rock driven British version album. However, "Heaven Help My Heart" and call me a red, white, and blue Yankee because in the "Endgame" I like this album of CHESS the best.

It's quite surprising that this musical didn't enjoy as successful a run as other more established ones like West Side Story or My Fair Lady. It should.

It is HEAVILY under-rated; Why so? Its Overture is breathtaking - on a par with West Side Story's. The album spans across various music genres from pop/rap ("One Night In Bangkok") to opera ("Anthem"). This album affirms the versatility and tremendous talent of both the composers and lyricist.

With Chess, Tim Rice seals his position as one of the best lyricists around with fantastic songs like "Nobody's Side" and "You and I". Not falling short, the ABBA duo matches Tim Rice's witty, punchy lyrics with their melodic, contemporary musical composition. This combination keeps the essence and tension of the musical intact.

A must-have for any musical enthusiast.

I had been a big fan of the Elaine Paige "Chess" but this Broadway version, to me, far surpasses it. Perhaps it's because I had the good fortune to see it on Broadway and then in a Carnegie Hall concert performance with this original cast. Judy Kuhn confirms her spot as Broadway's finest singing actress with her brilliant performance here -- who else can move from a tender soprano to a belting chest voice? The late David Carroll is superb, as is the rest of the cast. Despite the shortcomings of the book and staging on Broadway -- who cares? This score is simply wonderful, with the new "Someone Else's Story" sung with such heartbreak by Kuhn. Carroll's "Anthem" is definitive. And there are many who can no longer listen to the final "You and I," simply because they know they'll never stop crying. And I'll never forget seeing the original cast sing the "Quintet" to "bravos" and "bravas" in a scanty Saturday matinee audience. This musical is MUCH underrated and I can't recommend this cast album enough.

Although I much prefer the London version of Chess, I always felt the Broadway version offered much better orchestrations. The story, however, was entirely ruined when they changed it for Broadway. It totally lost it's beauty, it's passion, and it's heart. They paid the price for the change as it flopped.

Now a new recording of Chess has been released. The 2001/2002 Complete Danish Cast Recording, which is sung in English. There are many reason's why I like it better than the London Cast. I won't even compare it with the Broadway version, because it's incomparable, due to the awful book of the Broadway version.

There are three big reasons why the Danish recording is superior to the London version. And for you Broadway fans, your great orchestrations are better here, and you also get "Someone Else's Story and a whole slew of songs that are not on the Broadway recording.

1: Orchestrations: The orchestrations on this recording are incredibly superior to those of the London Cast. That is the problem you run into with a "concept" recording. "Concept" recordings are never the final version to hit the stage, and seem like stripped down versions of the stage version. "One Night in Bangkok" is fierce on this recordings and the orchestrations (although subtile) make all the difference. "The Arbiter" is also so much more enjoyable here. "The Story of Chess" opens the show, where it makes much more sense than at the end. The orchestrations across the board are truly wonderful.

2: Completeness: You get so much more music in the new recording. About 50 minutes of new music that wasn't on the incomplete Concept. It follows the original London (stage) production, and has numbers such as "Someone Else's Story," "The Soviet Machine," "Der Kleine Franz," many other songs that are not on the London concept or Broadway cast. "The Soviet Machine" is entirely awesome. Such a showstopper. "Pity the Child" is also in the 1st Act, which makes much more sense than the 2nd Act. You also get the beautifully touching finale, which is very powerful - not on the London Concept. The story is so much easier to follow here, and truly shows what a great musical Chess is.

3. Cast - Believe it or not, I prefer this cast to the incredible London Cast. I'm not denying their brilliance, but there's no denying the brilliance on this new recording either. Although there are performers from five countries, the diction here is wonderful. Molokov (Simon Clark) has a very believable Russian accent, which makes all the difference. He is amazing in "The Soviet Machine." The two leading men are incredible, providing for a riveting "Pity the Child," by the American - Zubin Varla, who entirely blows Murray Head out of the water here. I never thought I would say that. You also get a gorgeous "Anthem." - by the Russian - Stig Rossen, which knocks you out. The two ladies are also wonderful. Emma Kershaw is impressive as Florence and gives a knock out performance throughout, but especially in her big numbers, such as "Heaven Help My Heart." She is triumphant in "Nobody's Side" which completely BLOWS the London Concept version out of the water. WOW! Gunilla Backman, as Svetlana, tears your heart out in "Someone Else's Story." The supporting cast is wonderful, and the choral numbers just rock.

...Chess lovers - especially those of the Superior London version - this new recording is a must.

This ABBA and Tim Rice musical, the music is really the star with mediocre lyrics, was a box office flop on Broadway after a successful run in London. It had also been rewritten and re-staged before hitting Broadway. Dull staging and uninteresting male leads were the downfall of the show. Judy Kuhn, who played the lead Florence, was the absolute best part of the show. This recording shows off Judy Kuhn in the best way possible, her voice is forceful and vulnerable. I can not imagine a better Florence, I know Elaine Page fans will disagree but Kuhn has a better belt; every solo seems hand picked for Kuhn and she make the men look bad. In comparison, Anatoly (former the Russian in the London recording) is nasal and Freddy (the American) is just average. The changes to the titles help you identify the song as opposed to Mountain Top Duet which is confusing. The changes to the plot make Anatoly much more sympathetic and even Freddy to a certain degree. The absolute best changes happen at the beginning of the show and the end. In the London, the story of Chess is tacked into The End Game and just make too long, on this recording The Story of Chess gives the story a prologue as well as an initial introduction to Florence's father, who is important in the improved plot. The changing of the plot weakens the character of Svetlana, her part is again more sympathetic, but much smaller.
Overall the Broadway is a better reading because of one person, Judy Kuhn.

I'm astonished at how many reviewers preferred this American version over the original London cast. I bought this album when I was in high school when "One Night in Bangkok" was first playing on the radio. I was pleasantly surprised to find out that "Bangkok" was just one of the songs from a beautifully written, melodic musical. I must have listened to the London version every day for months.
I truly feel that this Broadway version falls far short of the London one. Perhaps, as another reviewer commented, it's because I'm so in love with the original. Murray Head, who plays Bobby Fisher in the original, has a more interesting and listenable voice than Philip Casnoff from this version. By the way, why is the character no longer called "Bobby" in this edition? He is now "Freddy". There's a part in particular, in the song "You Want to Lose Your Only Friend?" where it sounds like Caswell can't hit the high notes, so he switches to the lower octave ("I'm only teasing Soviets/With gentle bonhomie"). And, I'm sorry, but if you grew up hearing Head's "One Night in Bangkok" on the radio like I did, you can never really enjoy another version as much. It's like hearing McCartney and Lennon's "Yesterday" sung by Frank Sinatra; the vocals are very good, but not quite right.
Some really good songs are missing, or re-written with a different perspective, which I didn't like. "The Arbiter's Song", which I loved, is gone. "The Argument" (I think that's what it's called), which was a Lover's quarrel between Florence and the Russian, has turned into "How Many Women", an argument between Forence and Freddy. But we already hear them arguing in "You Want To Lose Your Only Friend". David Carroll's "Russian" accent is annoying and difficult to understand.
The best part of the Broadway album is Judy Kuhn (Florence). Her voice is beautiful and powerful. Her song "Someone Else's Story", has been added to this album, and it's the reason I bought the CD. The song is about having to make difficult choices. Had I known the rest of the album would be so different from and worse than the original, I probably would have tried to download only the one song from the Internet.
I guess everyone has to make their own choice. My vote is definitely for the London version.

"We're here for Chess, are the U.S.?"

Overall I enjoy this version of the Chess Soundtrack over the Original Concept Album. The performer who plays Freddie has a better sounding voice than Murray Head in the Original London Concept Version and He out sings Mr. Head on "Pity The Child". The Russian male characters are also better sung on this version, and are better characterized than the Original Concept version.

This version is much more polished and better flowing than the original. The voices blend together in this version better than in the Original. Perhaps it is because of the presentation form? Concert versus Full Musical.

It should also be noted that there are several versions of the Script for Chess. This is not to uncommon for musicals, there is usually a slight difference between the score and the scripted version, and directorial decisions need to be made as to which version to use. The differences in the Chess versions determine the placement of some scenes and songs. These type of changes as in the case of Chess result in cut songs or scenes. One such cut is the "Opening Ceremony" (AKA: "The Arbiter's Song") which is provided as an option when producing Chess. Providing alternative or extra songs and scenes is another common device for musicals.

Sometimes songs are cut from a soundtrack because of a production decision or because of track time. In my humble opinion (IMHO) from the standpoint of a musical soundtrack connoisseur, the practice of cutting or not even recording tracks from a musical is extremely silly and shouldn't be done. For instance it took about 20 years for a recording of "The Tower of Babble" the opening song from "Godspell" to be released when they released an anniversary "recording only" version of that show. For "Once Upon a Mattress" it wasn't until they released a recording from the Sarah Jessica Parker revival that "The Jester, The Minstrel & I" was released. But again I digress (I do that a lot on these things).

I conclusion and therefore etc... I give the Broadway version of Chess a 4 for Sound Enjoyment and a 4 for Sound Quality.

I listened to the London version first and I didn't really like it, then I listened to the Broadway one, and I loved it, I think Judy Kuhn does a wonderful job. I really like the songs "Someone Else's Story", "Heaven Help My Heart", "I Know Him So Well", and "Nobody's Side". I would advise you to get this version instead of the London version, unless you want to hear Elaine Paige sing with no emotion, she should stick with "Cats".

This is if not my favorite musical, then my favorite modern musical. The music is breathtaking. The lyrics are mostly excellent too. In the liner notes that came with my copy, there is a note that the words to the last song had been changed due to american censorship. The show is European. It's about a chess match between a quiet, tormented Russian and a loud, obnoxious, jingoistic american. He has problems of his own. The singers are all fine.