The journey of 'Chess' from cult favorite to Broadway success with a winning score

The Broadway revival of Chess made an impressive debut, grossing over $1.2 million in its first week from just four sold-out performances. Shortly after, the show, starring Lea Michele, Aaron Tveit, and Nicholas Christopher, shattered the Imperial Theatres record for a seven-performance week with $1.7 million. The following week, it surpassed the eight-performance record, earning $2 million.

Originally a commercial flop on Broadway 40 years ago, Chess had developed a devoted following over the decades. Its score, composed by ABBAs Benny Andersson and Bjrn Ulvaeus and featuring hits like I Know Him So Well, Nobodys Side, Anthem, and the Top 40 single One Night in Bangkok, gradually gained a passionate fan base. This dedicated audience, combined with the star power of the revival, has propelled the show to become one of the seasons biggest ticket successes.

Producer Tom Hulce noted the wide appeal of the music, explaining that many attendees are encountering the show for the first time, having previously discovered its songs in school or through pop culture. Fellow producer Robert Ahrens added that the production strategically targeted both longtime fans and newcomers with its trio of leads: Tony winner Aaron Tveit, rising actor Nicholas Christopher, and Lea Michele, whose previous Broadway revival experience demonstrated her box office draw.

The marketing campaign emphasized intrigue and allure, featuring sultry black-and-white images of the three stars. The release of three key songs from the production showcased the casts vocal talent and generated additional buzz in media outlets like Entertainment Weekly.

To sustain ticket momentum, the production launched new television advertisements highlighting not only the leads but the full ensemble of 23 performers and an 18-member orchestra. The strategy proved effective: during Thanksgiving week, the show set another house record with $2,066,742 in ticket sales for eight performances.

While reviews of the revivals updated book by Danny Strong have been mixed, critics consistently praise the enduring score. Audience enthusiasm remains strong, with many agreeing that the musics quality has outlasted the original productions initial shortcomings, as Robert Wankel of the Shubert Organization observed: That original production may have had a problem or two, but the music never did.

Author: Aiden Foster