Review: Chess - Enniscorthy Musical Society

Society name: Enniscorthy Musical Society

Show name: Chess

Adjudicator date of attendance: 10/04/2026

Enniscorthy Musical Society took on a hugely ambitious challenge with their production of Chess, a musical renowned for its demanding score, politically layered storytelling, and emotionally complex characters. It is not an easy show to stage successfully, requiring not only strong vocal performances but also clarity of storytelling and a cohesive ensemble to sustain its atmosphere and tension. This production demonstrated a clear understanding of the world of the piece, supported by an exceptionally strong principal cast and a confident overall vision that ensured the story remained engaging throughout.

Director Imelda McDonagh approached the production with a strong sense of style and theatricality. There was a clear visual identity running throughout the show, and considerable thought had gone into creating a cohesive world for the audience to inhabit. One of the most effective directorial choices was the entrance of the chess contestants through the audience accompanied by their national flags. This immediately established the sense of spectacle, ceremony, and political tension that sits at the heart of Chess, while also drawing the audience directly into the atmosphere of international rivalry and media scrutiny.

The use of the playing space was particularly effective. The unusual diamond-shaped thrust stage created opportunities for dynamic and immersive staging, and these were used imaginatively throughout the evening. The chess matches themselves were especially well handled, carrying a genuine sense of anticipation and dramatic tension. In a show where much of the conflict is internal and psychological, maintaining momentum and engagement can be difficult, but the production largely succeeded in doing so. The storytelling was generally clear and accessible, which is no small achievement in a musical as intricate as Chess. Relationships between the principal characters were well defined, and the emotional journeys of Anatoly, Florence, and Freddie were handled with care and clarity. The principal cast clearly benefited from strong directorial attention, with performances that felt detailed, emotionally grounded, and connected to the world around them.

There were areas where greater refinement would strengthen the production further, particularly within the ensemble work. At times, acting styles across the chorus lacked consistency, with some members leaning too heavily into theatricality while others appeared more restrained or uncertain. In a politically charged piece such as Chess, subtlety often serves the storytelling best, particularly in scenes involving Soviet officials or media interactions. Greater uniformity in tone and performance style would help create a more cohesive and believable stage picture. Small details, such as more natural microphone handling during interview scenes, would also enhance realism and audience immersion.

Musically, Kevin Kennedy guided the production with assurance, particularly in relation to the principal vocals. Chess is vocally one of the most demanding scores in musical theatre, requiring sustained power, control, and sophisticated harmonies, and the principal cast rose admirably to that challenge. The band provided solid support throughout the evening, maintaining momentum and atmosphere effectively, serving the storytelling well and allowed the vocals to remain at the forefront. The strongest musical moments undoubtedly came from the principals. Harmonies between them were particularly impressive, and the emotional weight carried through the score was consistently effective. The ensemble vocals would benefit from increased confidence and stronger harmonic presence, particularly in the larger company numbers where the chorus is so important in building scale and atmosphere. There were moments where timing and projection became uncertain, but the foundations were certainly present. With continued musical development and greater vocal unity, these sections could become significantly more impactful.

James Dobbs approached the choreography with clear ambition. There were several imaginative ideas woven throughout the production. Chess is not a straightforward musical to choreograph, and there were moments where the movement vocabulary perhaps required additional refinement and rehearsal time to fully realise its potential. Some sequences would have benefited from cleaner execution and greater ensemble uniformity, as varying confidence and movement ability occasionally affected synchronisation. At times, some of the choreography leaned slightly too literally into gesture-based storytelling, where a more stylised approach may have created a stronger visual impact. The playing space also presented challenges, particularly in the lowered downstage area during the chess-piece sections, where movement occasionally became cramped. Nevertheless, the creative intent behind the choreography was always evident, and there were genuine glimpses of strong theatrical potential throughout.

The principal cast formed the true backbone of the production and elevated the show considerably through their performances. Colin Doran delivered an exceptional portrayal of Anatoly Sergievsky, capturing the character’s inner conflict and emotional turmoil with sincerity and depth. His performance balanced commanding presence with vulnerability beautifully, and his interactions with Florence felt tender and believable. Vocally, he was superb, singing with warmth, control, and apparent ease throughout. “Anthem” was especially moving and one of the standout moments of the evening.

Shane Kelly provided an excellent contrast as Freddie Trumper, bringing confidence, swagger, and energy to the role. His portrayal captured the brash arrogance of the character while still allowing moments of humour to come through naturally. Vocally, he delivered a powerful rock sound full of grit and texture that suited the score perfectly.

Michaela White gave an emotionally compelling performance as Florence Vassy. Her character journey was clearly defined throughout, and she communicated Florence’s emotional conflict with sensitivity and nuance. Vocally, she was extremely strong, delivering “Nobody’s on Nobody’s Side” and “Heaven Help My Heart” with both power and vulnerability. She anchored the emotional core of the production very effectively.

Therese Canavan Bolger gave a lovely, understated performance as Svetlana Sergievsky, portraying the quiet resilience and heartbreak of the character with sincerity and restraint. Despite limited stage time, she made a significant emotional impact, particularly during “I Know Him So Well,” where her vocals blended beautifully with Florence’s.

Anthony Jones brought considerable authority and menace to the role of Molokov. His performance carried a dark and intimidating energy that suited the manipulative political undercurrents of the character very well. Andy Fanning’s Walter DeCourcey was sharply observed and entertaining, capturing the opportunistic nature of the media figure with excellent comic instinct and strong characterisation. Erin Hogan also impressed greatly as The Arbiter, bringing calm authority and composure to the role while handling the demanding vocal lines with confidence and ease.

The ensemble carried a significant responsibility in helping to establish the political atmosphere and scale of the production, and there was clear commitment and enthusiasm from the company throughout. Ensemble work in Chess is particularly challenging, requiring cohesion in singing, acting, and movement, and there were moments where the group showed strong energy and intention. Greater consistency in performance style and confidence would strengthen future productions considerably, particularly in relation to vocal projection, harmonic clarity, and movement precision. With continued focus on ensemble development and rehearsal detail, the chorus has the potential to become a much stronger collective force.

Visually, the production was often very striking. The set design was exceptionally clever and one of the strongest aspects of the show. The diamond-shaped thrust stage allowed for dynamic staging and strong sightlines, while the use of levels added visual variety and depth throughout. The lowered section at the point of the stage and the raised platform at the rear created numerous opportunities for interesting compositions and helped maintain audience engagement. The use of the vomitorium’s within the audience seating added an immersive quality to the production, while the minimalist use of additional set pieces ensured that the visual metaphor of the chess board remained central throughout. The sheer scrim at the rear, allowing visibility of the band, was another excellent design choice that helped integrate them into the world of the show.

Stage management by Murt Murphy was smooth and efficient, with the minimal scene changes handled effectively by the cast themselves. This helped maintain pace and flow throughout the performance.

Lighting contained some effective atmospheric moments, though the rig did not always fully complement the unusual stage shape. Uneven coverage occasionally resulted in hotspots and darker areas, while some facial lighting angles appeared awkward. Certain areas of the stage, particularly the front staircases, would have benefited from more consistent illumination. A greater variety of colour palettes and textures could also help differentiate emotional and narrative shifts more clearly. Sound overall functioned adequately, though ensemble vocals occasionally lacked clarity within the mix.

Costuming was strong and visually cohesive throughout. The monochromatic chorus costumes echoed the aesthetic of the current Broadway revival while reinforcing the stark political atmosphere of the show. The continued use of blue-versus-red colour symbolism within the principal costumes was particularly effective. Hair and makeup were neat, polished, and well maintained throughout the production. The only area that perhaps lacked a little additional flair was “One Night in Bangkok,” where a more heightened sense of spectacle could have enhanced the theatricality of the number further.

Front of house operations were warm, organised, and welcoming, creating a positive atmosphere from the moment audiences arrived. Audience management was smooth throughout the evening, and there was a strong sense of pride and enthusiasm surrounding the production that reflected very positively on the society as a whole.

Overall, Enniscorthy Musical Society should be commended for taking on such a challenging and sophisticated piece of musical theatre. The production demonstrated ambition, creativity, and a clear artistic vision, supported by an outstanding principal cast who delivered emotionally engaging and vocally accomplished performances. There was much to admire throughout the evening. Most importantly, the production captured the emotional tension and theatrical atmosphere that make Chess such a compelling work, resulting in an engaging and memorable performance.