Back on the Board: Shubert Reflects on the Return of Chess

​Florence Vassy may be on “Nobody’s Side,” but it’s quite clear that The Shubert Organization has always been on Chess’s side.
Chess first graced the stage of the Imperial Theatre in April 1988. Its run ended after 68 performances, plus 17 previews — brief, but memorable. A one-night benefit concert followed years later at the Broadhurst Theatre, keeping the flame alive, though it wasn’t considered a full revival.
And now, 37 years after its original Broadway bow, Chess returns once again to the Imperial Theatre - with The Shubert Organization back in the role of producer, championing the show into its first true Broadway revival. I sat down with CEO and Chairman Bob Wankel, and VP of Creative Projects Jennifer Costello to find out more about the relationship between Chess and The Shubert Organization. 

---

1. The Shubert Organization was involved with the original 1988 Broadway production of Chess. How would you describe the company’s relationship with the show at that time?
Shubert was the leading producer when the show was in London, along with Tim Rice, ABBA, and Robert Fox. Michael Bennett was the director.  We collectively felt a move to Broadway would be a good one for the show.
 
 
2. Looking back, what do you remember about Shubert’s decision to bring Chess to the Imperial Theatre in 1988?
The show originated in London, but Michael Bennett had to step down. Trevor Nunn took over the show, honoring Michael’s intent, and it ran for three years in London. The show was then bought to NY with Trevor Nunn leading a new production, with a new book. When the show came to NY, the director had new ideas for the staging. When it opened at The Imperial, it opened to mixed negative reviews, and the show closed after six weeks.
 
3. The original run was comparatively short, yet it developed a strong cult following. Did you anticipate the show becoming a long-term fan favorite?
It’s hard to predict how such things happen, so I don’t know that we anticipated the show becoming a long-term favorite.  But thanks to the concept recording, the show has continued to draw in fans, long after the show had its final performance.  The music has always been a highlight, and fans of the score are excited to have the opportunity to hear the beloved music performed live, by Grade A Broadway talent, including the three big stars of the show. 
 
4. This revival is being called the first full Broadway revival of Chess. What made now the right moment for Shubert to return to this title?
This version was started in 2020 at The Kennedy Center; however, Covid stopped progress on the show.  Throughout the duration there were different producers, but Tom Hulce was always the consistent producer, along with Rob Ahrens and The Shubert Organization.

5. How important was it to bring the revival back to the Imperial Theatre, where Chess made its original Broadway debut?
There wasn’t an explicit design to bring Chess back to the Imperial Theatre.  It was actually just good fortune that the theatre was available.  It is poetic however that it is premiering at its original home.
 
6. Thematically, Chess explores politics, media, ego, and identity. Do you feel these themes resonate more powerfully today?
We think it’s more relevant now. What is interesting is that in our audience we have a wide range of ages. As a Gen X-er, who grew up during the cold war, who lived with the threat of a possible nuclear war, it’s a direct recall to a particular moment in time.  We also have a younger generation who didn’t grow up with the cold war in the same way, but they are experiencing their own world shifting events.  They are now living in a world that has been up-ended; their world order has been overturned.  The opening sung lines of the show are “No one can deny that these are difficult times.” That feels very relevant to today,

7. Do you have a favorite song or moment from Chess, either from 1988 or the new production?
Bob: One Night in Bangkok is such a pivotal song and well known.
Jenn: As a fan of the concept recording, “Pity the Child” was a highlight for me, how dramatic and vocal it was.  Now I’d have to say “Endgame,” witnessing Nic Christopher deliver an unforgettable, powerhouse performance is thrilling to me.