“CHESS” Returns — Björn Ulvaeus and Benny Andersson Bring Their 1980s Masterpiece Back to Broadway.
After nearly forty years, the curtain has lifted once more on one of the most ambitious and beloved musicals ever written — “CHESS.” Created by Björn Ulvaeus and Benny Andersson of ABBA, together with lyricist Tim Rice, the show has found its way back to Broadway, where its music, emotion, and meaning still feel as powerful as ever. This week, at New York’s Imperial Theatre, the stage that first embraced it in 1988, “CHESS” returned not as a memory, but as a masterpiece rediscovered.
The audience rose to their feet before the first note had even finished. From the opening strains of the orchestra, it was clear: this was not just a revival — it was a celebration of everything that made the original timeless. Directed by Michael Mayer and written by Danny Strong, the new production balances the grandeur of the past with the intimacy of modern storytelling. Its cast — Aaron Tveit, Lea Michele, and Nicholas Christopher — brings both freshness and depth to the roles once defined by legends, embodying the emotional weight and complexity of a show that was always far more than a musical about chess.
For those unfamiliar, “CHESS” tells a story set against the backdrop of the Cold War, where a simple game becomes a metaphor for love, loyalty, and political rivalry. The music, rich with drama and layered emotion, bridges pop and theatre in a way only Björn and Benny could have imagined. Songs like “One Night in Bangkok” and “Someone Else’s Story” once dominated radio charts; today, they feel even more relevant, their lyrics echoing questions of ambition, isolation, and the human need for connection.
Behind the scenes, both Benny Andersson and his son Ludvig Andersson were deeply involved in the creative process. Alongside Tim Rice, they attended rehearsals, offering insight and quiet encouragement to the cast and musicians. Observers noted how Benny watched from the orchestra pit, smiling faintly as the ensemble played those familiar chords — music that first came to life in a different world, yet somehow still belongs perfectly to this one.
One of the most striking features of the new production is its commitment to live sound. The 18-piece orchestra, performing directly on stage, gives every moment a rare authenticity. The violins shimmer. The brass swells. The percussion drives the rhythm forward with the same intensity that once filled concert halls across Europe. In an era when much of theatre depends on digital tracks and effects, hearing live instruments breathe through Benny’s compositions feels like stepping back into a time when music was raw, human, and unfiltered.
Critics have described the show’s return as “a triumph of emotion over spectacle.” It’s easy to see why. There are no flashy reinventions, no unnecessary modern twists. Instead, “CHESS” stands firm in what it always was — a story of people struggling between passion and principle, told through melodies that refuse to fade. Lea Michele’s interpretation of “Someone Else’s Story” brought the audience to tears; her quiet delivery captured the heartache of change and the cost of dreams. Meanwhile, Aaron Tveit’s commanding rendition of “Pity the Child” reminded everyone why the music of Björn and Benny continues to outlast trends.
For fans of ABBA, this revival feels personal. It is a continuation of a legacy built not just on pop success, but on the courage to blend heart and intellect in art. Long before “Mamma Mia!” took the world by storm, “CHESS” proved that Benny Andersson and Björn Ulvaeus were more than songwriters — they were storytellers with an extraordinary sense of humanity.
As the final curtain fell, the applause seemed endless. Some fans who had seen the 1988 production wept quietly, while younger audiences — many experiencing “CHESS” for the first time — stood in awe. What they witnessed was more than nostalgia. It was proof that great music, like great emotion, never really belongs to one generation.
In a world constantly chasing what’s new, Björn and Benny’s “CHESS” has returned to remind us of something simple and eternal: when music is honest, it doesn’t age — it deepens. And on Broadway, under the soft glow of the Imperial Theatre’s lights, the game begins once more — not between players, but between hearts, memory, and melody.