| Reworked 'Chess'
better now than original By Punch Shaw / Special to the Star-Telegram FLOWER MOUND - Musicals are universally big shows that require large venues to be effective. If you believe that, you need to visit the tiny Barn Door Theatre to see their production of Chess, the 1984 musical created primarily by two members of the Swedish pop band ABBA and Tim Rice, who wrote the book for Andrew Lloyd Webber's Jesus Christ, Superstar. They make this sprawling story of international gamesmanship fit their 90-seat space very well. Chess is set in the bad old days of the Cold War, when even something as seemingly innocuous as a chess match could absorb political portent. American chess master Freddie (Skie Ocasio) is pitted against his Russian counterpart, Anatoly (Donald Fowler), while their CIA and KGB-linked handlers play a brutal chess match of their own. Orbiting this troubled planet is Florence (Mary Gilbreath), the only member of Freddie's team who is not all spooked up. Freddie, as portrayed by Ocasio, is a pretty boy with dyed-blond hair, but he is also the definitive ugly American -- arrogant, avaricious and aggressive. He makes more moves on Florence than he does on the chess board, but she is drawn to his married, Soviet opponent. Fowler's Anatoly is as cool as the other side of the pillow on the surface but his emotions run deeper than the Volga, and they flow toward Florence. Despite the names associated with this musical, it was not initially well received. Since those first productions, however, the piece has been reworked in a number of ways (Richard Nelson, who was brought in to improve the show's book, is now listed in the credits with Rice, Benny Andersson, and Bjorn Ulvaeus). It works far better now than in its original form and is finally finding a place in the repertoire. The Barn Door cast is especially strong vocally. Ocasio knows how to sell a song. Fowler's voice matches his character nicely. And Gilbreath, despite a tendency to shout at times, has a powerful, evocative style. But, while each is strong individually, they do not do well together. Their voices are ill-matched and the show's duos and trios do not work as well as the solos. Quite the opposite is true of the chorus. These supporting players not only contribute some nice dramatic moments separately (Marcus Maudlin's turn in the microscopic role of the Arbiter is a good example) but they are also extremely pleasing as a group. Director Corey Ranson does a superb job of moving his kings, queens and pawns around the stage. Music director Adam Wright, leading a quartet that provides the live accompaniment, builds a musical bed that is both appealing and beautifully balanced with the vocals, despite the cozy confines of the theatre. There are some shortcomings in this show. The acting is not always what it should be and the biggest hit, One Night in Bangkok, is one of the few numbers that doesn't fly. And, at more than 2 and a half hours, the show is too long and could use some trimming. But, overall, this production is far better than a theatre of this size should be able to present. These folks are playing a clever gambit. You should check it out, mate.
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