Cold War, Hot Mess: The Story of CHESS the Musical

Chess is a Cold War musical with ABBA tunes, tech meltdowns, and Broadway chaos. What could possibly go wrong?

Imagine pitching this: a Cold War-era love triangle musical about chess. It’s part spy drama, part romance, part disco-rock opera… with music by the guys from ABBA. That’s CHESS—a show that somehow soared, spiraled, and crash-landed spectacularly.

It all started in the ‘80s, when lyricist Tim Rice couldn’t stop thinking about the Fischer vs. Spassky chess match of 1972. It was a high-stakes showdown between the US and the Soviet Union, and Rice saw the potential for a dramatic stage story buried inside that tension. When Andrew Lloyd Webber said “pass,” Rice teamed up with Benny Andersson and Björn Ulvaeus of ABBA fame, and CHESS started taking shape.

First came a concept album (because Rice knew how to play the long game). And it worked. The music was a hit. “One Night in Bangkok” became a surprise club hit, and “I Know Him So Well” topped the UK charts. The buzz was real. The stage version was next.

A High-Stakes Production Full of Plot Twists

The 1986 West End production was a visual spectacle—featuring video walls, hydraulic chessboards, and dance battles. Elaine Paige, Murray Head, and Tommy Körberg led the cast, and CHESS looked like it might just be the next Evita. But behind the scenes? It was chaos. Director Michael Bennett had to step down due to a then-secret AIDS diagnosis, and creative control got shuffled like pieces on the board. Trevor Nunn (Les Mis, Cats) stepped in and reimagined the whole thing as a romantic drama, swapping out the original grit for sweeping ballads and… a lot of chairs. Like, a lot.

By the time CHESS reached Broadway in 1988, it was barely recognizable. The Cold War themes were losing relevance, the set was a logistical nightmare, and the story had become so convoluted that audiences struggled to follow who was sleeping with whom—or why any of it involved chess.

Then came the reviews.

“Yes. CHESS.” (No, Actually… CHESS, No.)

Frank Rich of The New York Times shredded it. CHESS, he wrote, “sometimes comes remarkably close” to war. From that moment on, the show never had a chance. It closed after just 68 performances, losing millions and leaving behind a trail of bitterness, depression, and one extremely dangerous video wall.

And yet—CHESS didn’t die. The music lived on, beloved by fans who didn’t care that the story was a mess. It was moody and melodic, full of heartbreak and power plays. It even inspired the creation of Mamma Mia! years later. Rice went on to write lyrics for The Lion King and Aladdin. Benny and Björn eventually made peace with musical theatre (kind of). And every few years, someone gives CHESS another shot.

Still Playing the Game

Because for all its blunders, CHESS still matters. It’s weird, ambitious, a total disaster, and a cult favorite rolled into one. And in the end, it reminds us that sometimes the boldest moves don’t win the game—they just make it unforgettable.

Watch the complete story of CHESS:

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