When not seeing shows or watching a classic movie musical, I like nothing more than to get a musical theatre fix by listening to one of the many thousands of bootleg recordings I ‘own’. A separate upcoming piece will discuss the ethics of such unauthorised recordings, but for now let’s look at one of my absolute favourites which I keep returning to again and again.
I truly wonder if there is a more underrated musical performer than Jodi Benson. The American vocalist and actress is perhaps best known as the voice of Ariel in the Disney classic The Little Mermaid, which I covered in some detail in the linked article. Yet, according to the ever-reliable font of all knowledge Wikipedia, Benson’s musical theatre experience is extremely limited. This is especially surprising because she is so very good at it. Her musical theatre experience is all but a footnote on her career, despite a 1992 Tony Award nomination for her turn in Crazy For You.
The performance I love her best for, though, is not even mentioned in the above source; a starring role as Florence Vassy in a 1991 production of Chess by regional production company North Shore Music Theatre. All of the cast are excellent in this outstandingly sung performance, discreetly captured by an intrepid audience member for posterity and enjoyment even now in 2016. But it is Benson’s powerhouse performance as the flighty chess second which caught my attention some years ago.
I have a bit of a love-hate relationship with Chess, the occasions I have seen the show live (several amateur productions, the Craig Revel Horwood actor-musician UK tour, the 2009 concert featuring Idina Menzel and Josh Groban) I have been frankly bored stiff by the middle of the second Act. The problems with the musical’s book have been chronicled countless times by various sources in the last decades. Changes have been made to book, lyrics and characters throughout the years on an almost constant basis each time the show gets staged professionally, leaving me to conclude that no two productions of Chess are anything alike. Yet, I find the show an exhilarating listen when well cast. The songs are plentiful, catchy and varied – albeit if slightly front-loaded into the first act. Chess works extremely well as a concept recording – far better than it does as something you actually have to sit and watch for two and a half arse-numbing hours.
While the numerous official cast recordings certainly do the material justice and Elaine Paige is certainly very good in the Original London Cast Recording, Benson’s performance is entirely more visceral and believable. The character, admittedly, is fundamentally unpleasant as written so it requires a lot of good will, but Benson’s over-the-top diva-ness is a joy to behold.
Dozens of clips of the production exist on YouTube, which I strongly recommend checking out for yourself. Setting aside the fashions (fresh out of the 80’s in terms of clothes and hair) the production is a relevant and exciting watch. The cast listed on my bootleg is given as;
Jodi Benson (Florence), Romain Frugé (Freddie), Keith Rice (Anatoly), Julie Johnson (Svetlana), John DeLuca (Arbiter), Bob Hess (Walter), Lyle Kanouse (Molokov)
There is honestly not a weak link in the entire principal cast. Romain Frugé has a powerful voice which, unlike so many others before and after him, does not require him to screech to sing this very challenging role. Keith Rice plays Anatoly straight, with a solid Russian accent which doesn’t disappear when he sings, Julie Johnson has a really pretty voice as the rather pathetic character of Svetlana. John DeLuca makes a fantastic Arbiter, one of my favourite roles in musical theatre.
Coupled with the excellent sound quality for a bootleg of its age, I consider this the most definitive production and cast of Chess that I have heard to date, and strongly recommend digging out a copy (Google is your friend!).
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