The somewhat cerebral,
studious occupation of playing chess might not seem to at first glance to be an
exciting subject for a drama. Admittedly Tim Rice and two quarters of ABBA had
explored the whole Cold War played out through chess scenario in their 1984
musical. But their characters were composites, whereas in Tom Morton-Smith’s
new play Ravens at the Hampstead Theatre we focus on some very real personalities: Russia’s chess kingpin 35
year old Boris Spassky and the maverick, unpredictable challenger, 29 year old American
Bobby Fischer. Amid Cold War tensions, the two met in a series of highly
publicised games in Reykjavik to decide the World Chess Champion of 1972.
The real Spassky and Fischer in 1972
It is hard to imagine the
worlds media today being as enthusiastic for chess as they were in 1972. It was
the USA versus the USSR , and the
global media bought into it. The matches were being beamed live around the
world, and bars in the US which hitherto would only have entertained showing the
latest American baseball matches or similar, suddenly became chess crazy. Was
it really the chequered board though or what it embodied during the high tensions of the Cold
War when it was a very real threat that a nuclear warhead could be fired by
either of the opposing nations?
Morton-Smith’s play
examines what was going on behind the scenes in Iceland as both Spassky and Fischer were
being manoeuvred by their respective governments to be the acceptable face of Cold
War one-upmanship. Naturally for Boris Spassky, the Kremlin is calling the
shots. A team of advisors have travelled from Moscow to coach on tactics of the
game... that being the wider game being played. Russia has held the World Chess
Championship for 26 years. For him to lose to Fischer would be a propaganda
disaster. No pressure on Spassky then! But Fischer is a brilliant strategist
and highly unpredictable. Some might say unhinged. From the off he is demanding
changes to the already agreed terms. He won’t play in the chosen arena, he wants
his chair changing, he wants the board replaced, he wants the table lowered an
inch... Fischer begins a stand off where
each side becomes more paranoid about how far governments are willing to
go to make their participant the winner.
Ronan Raftery
Solomon Israel and Robert Emms
Bringing the Cold War
chess legends to life are two extremely capable actors. They avoid direct
impersonations but bring a flavour of the two men from the familiar news interview
footage of the period. In the more showy role of Bobby Fischer, Robert Emms
brings not just a brooding intensity but a physicality to the role. Cowering,
storming, throwing, shouting. Emms delivers a commanding performance of a man
on the edge, facing the biggest moment of his career enshrined in child-like
fury and doubt. Watching him swivel on his chair in distraction during the heat of a game becomes
something of a ballet in Emms hands. Meanwhile Ronan Raftery is the quieter, studious
Spassky who is slowly worn down by Fischer’s theatrics. Spassky is equally worn
down by his own regime, as he himself admits, he is not even a member of the
Communist Party. The pressure on him to retain the championship is
overwhelming, and Raftery explores this slowly and deliberately. Both men offer
fine studies in decay.
Rebecca Scoggs
But this is no two
hander. The supporting cast are first rate, playing the entourage. Buffy Davis swaps
genders as Fischer’s manager and early chess mentor with panache. Solomon
Israel’s vocal talent as Dr. Henry Kissinger provides a couple of pivotal
moments of government pep talking. Naturally like most of the rest of the cast
he has duel roles in this case as Fischer’s second, William Lombardy. Rebecca Scroggs as psychologist Nikolai
Krogius is one of several Russians trying to figure out Fischer’s behaviour. Something
that equally exasperates strategist Efim Geller (Gyuri Sarossy) as the
tournament descends into complete paranoic frenzy. Beruce Khan as Iivo Nay, Spassky’s
sparring partner, finds himself at the centre of suspicion as the tournament
progresses in a performance that goes from comedic to hunted. If Fischer lets
his guard down with anyone it is his assigned Icelandic bodyguard Sæmunder ‘Sæmi-Rokk’
Pálsson, a performance of quiet wisdom by
Gary Shelford. Watching over the proceedings with a fascinated eye is Max Euwe,
the president of the World Chess Federation, ably played by Simon Chandler, who
can see both the political and human failings during the long drawn out battle
of the board. Late in the day Fischer’s mother Regina visits, estranged from
her son for ten years, this is not the emotional reunion she might have hoped
for. Emma Pallant gives a flavour of their strained relationship during an
uncomfortable encounter.
Emma Pallant and Robert Emms
Director Annabelle
Comyn does an excellent job of presenting the warring factions and the
intensity of the tournament in her production. She keeps the pace going for
this lengthy piece (and it could easily lose 15 minutes without detracting from
any viewpoint). The designer Jamie Vartan makes the most of the budget by
keeping the visuals none intrusive save for some moments on period television monitors
or projection, and the sympathetic lighting by Howard Harrison completes the
mood. The tension of the games is convincingly achieved despite no real chess
being played.
Tom Morton-Smith has
crafted a play which through the prism of a near sixty year old chess
championship is eerily reflective of the political landscape we find ourselves in
today. Ravens is a fascinating new play which deserves a wider audience and I
certainly hope finds one.
Simon Chandler and Robert Emms
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