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CHANGING "Chess's" title to "One Night in Bangkok," based on a song from the musical, might have added an element of titillation given Thailand's unfortunate reputation as the sex emporium of east Asia, but assessed strictly in terms of its content and the quality of performances, Diamond Head Theatre's production of "Chess" should need no such trickery to fill the house. "Chess" is a winner on almost all counts. DHT’s stellar cast
plays ‘Chess’ wellBy John Berger
Special to the Star-BulletinTake it as a realistic statement on the nature of modern international power politics or as powerful contemporary musical theater. DHT's production works both ways. In terms of theme, style of music, and overall ambience, "Chess" is of the same genre as "Miss Saigon" and tells a similar story. Fans of one should enjoy the other.
Jade Stice makes a triumphant return to the local stage as Florence, a Hungarian-American woman pulled in several directions by her heart and by the agendas of unseen power brokers in a tale about intrigue surrounding an international chess championship. (Anyone who thinks the premise became outdated with the implosion of the Soviet Union should note the hardball politics of the People's Republic of China regarding Taiwan and Tibet.)
"Chess": Repeats 8 p.m. Thursdays to Fridays and 4 p.m. Sundays through March 4 at Diamond Head Theatre. Tickets $10 to $40. Call 734-0274.
Florence leaves an obnoxious single man who doesn't appreciate her for a married man who does, then discovers that her choice may cost her more than her heart can afford to pay. Stice makes the role her own from her first moments on stage and does a superb job with a series of demanding power ballads.
Guy Merola (Anatoly) matches his superb performance in Manoa Valley Theatre's 1999 "Kiss of the Spider Woman" with his portrayal of a decent and honorable man tragically outmatched by opponents he doesn't even recognize as such. Merola's first big number, "Where I Want to Be?," leaves no doubt that he's perfect for the vocal demands of the role as well.
"Chess" fans will note that DHT's production is a variation of the American version of the story in which the obnoxious self-centered American chess master has a name, Freddy, and a back story in the song "Pity the Child." Broadway veteran Matthew Pederson plays the role well. "Pity the Child" is his best musical number and a fine workout.
It's unfortunate that "One Night in Bangkok," the song that hit No. 3 on the American Billboard Hot 100 in 1985 and thus the one song mainstream music fans would recognize, falls far short of expectations. Pederson looked good on opening night but the number lacked the sizzle and crisp sardonic elitism actor Murray Head conveyed in 1985.
Renee Angelique Garcia, the brightest of director Andrew Sakaguchi's new discoveries, adds a strong fourth character as Anatoly's wife. Garcia's contributions to "You And I" and "I Know Him So Well" prove her a talent to watch for in future shows.
Leonard Piggee and Mikel J. Humerickhouse add strong performances in the major supporting roles. Piggee plays Freddy's mysterious business agent. Humerickhouse is Molokov, the KGB officer responsible for keeping track of Anatoly.
John L. Bryan (Arbiter) makes "Arbiter's Song" an early highlight in Act II. Christopher Bates, who labored for years as an anonymous DHT ensemble player, gets a slightly bigger role this time as a cynical reporter who arouses Freddy's ire in Bangkok.
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