On November 16, 2025, a revival of Chess opened on Broadway at the Imperial Theater. Similar to the modern film industry, the current state of Broadway has been accused of a scarcity of creativity, with few original scripts, scores, or stories. It would seem the Broadway equivalent to the plague of movie sequels is revivals – new runs of shows that closed years ago, often classics. However, revivals seem to have a better handle on relevance than sequels. Despite being originally performed decades ago, this revival of Chess is as relevant as ever.
Before Chess was ever performed on stage, it was released as a concept album in 1984, similar to Evita and Jesus Christ Superstar, with which it shared a lyricist, Tim Rice. With Rice as lyricist, Benny Andersson and Björn Ulvaeus of the popular Swedish band ABBA composed the music. After the album garnered a positive reception, Chess was performed on the West End from 1986 to 1989. Now in 2025, with direction by Michael Mayer and a revised book by Danny Strong, Aaron Tveit, Lea Michele, and Nicholas Christopher lead the current Broadway production.
The story of Chess follows a love triangle between Freddie and Anatoly, competitive chess players, and Freddie’s manager, Florence. At the height of the Cold War, a World Chess Championship takes place, with Freddie representing America and Anatoly representing Russia. Though the leading trio have their own troubled childhoods and motivations that led them to the tournament, it is clear that the American and Russian governments are manipulating them. Complex but sympathetic people are used as pawns in their countries’ political game, hence the allegory of chess.
With our political situation tumultuous and the constant concern of the United States’relations with Russia, art discussing the Cold War is far from lacking in relevance. The revised book of the 2025 Broadway revival mentions current events and appears aware of this fact.
Beyond these broad political parallels, I was struck by the differences between citizens and government in the story. The KGB agent and CIA agent in this show are both depicted in a negative light. In contrast, the chess players from both countries are flawed but sympathetic; they are victims of political control. In a time of discord and division, I find it important to remember that it is not each other we have to blame, but those in power who do not prioritize the people relying on them. This is especially important to note, as some Americans place their loyalty in particular politicians rather than a set of beliefs. Chess makes a statement that the people are more important than the government, that humanity is more important than politics.
Though the current cast is stunning, one does not need to go to New York City in order to appreciate this story. The cathartic and timely story was communicated first through a concept album, and it can still make its point that way. Additionally, Chess In Concert, an American concert performance from 2008, can currently be found on Apple TV, Amazon Prime, and Google Play. Musical theater does not need to be an exclusive medium only available to those who can see a show on stage. We certainly should not let that get in the way of experiencing a story that speaks to our situation. Although Chess is over four decades old, it remains a vital reminder that we should not be pawns in the game of our political moment.
