BWW Interviews: Talking with Chess' James Fox

Chess, the legendary musical by Tim Rice and ABBA's Björn Ulvaeus and Benny Andersson, opened in Toronto on September 28th. Fresh off a sold-out tour of the UK, the show will play The Princess of Wales Theatre until October 30th and then open in London's West End. The Chronicle referred to this production of CHESS as "the ultimate staging of Chess, I could have sat there and watched it all again, and again, and again." Hailed as one of the greatest musical theatre scores of all time, the show even spawned a number one hit for Elaine Page and Barbara Dickson's duet "I Know Him So Well" This new production marks the first time in over 20 years there has been a production of Chess of this magnitude in North America (last one being Broadway in 1988).

The show is a visual feast and a treat for the senses. Gorgeous costumes and impressive choreography serve to highlight the stunning vocals of West End stars Tam Mutu, Rebecca Lock, Shona White, James Fox and the entire cast of the UK touring production. Sir Tim Rice himself even made a surprise guest appearance at opening night curtain call to take a bow with his cast.  Today BWW is thrilled to be featuring an interview with James Fox, who plays Freddie in the show:

Congratulations on Chess in Toronto! How have you enjoyed being in the city? Have you been able to do much exploring?

Thank you, I love Toronto! I was here in 2006 with the Billy Joel musical Movin' Out and I felt really at home here. It's such a great city, but it's the people and the general "vibe" of the place that really suits me, very relaxed and friendly. I could live here if the soccer was better! I haven't had a lot of time to explore as it's an eight show week, but I've managed to get up to Niagara, St Catherines and pretty much done all the tourist stuff in Toronto. Hoping to catch an ice hockey game this next week.

This production is fresh off a sold-out UK tour, how do you find TO audiences are responding versus those on the other side of the pond?

The audiences here are a blast, we have had a standing ovation every show without fail! We had plenty in the UK, but they have really embraced it here which is great to be part of. They are generally more vocal and slightly less reserved than the UK audiences, but people seem to be reacting pretty much the same way in the same spots of the show....

After Toronto you are headed for the West End, do you know if there are going to be any more revisions or changes before you go?

Well I'm not certain. The show has every intention of going to the West End to my knowledge, but as of yet the details are under wraps! I've done over 250 shows in a row over the past year, so maybe a few shows off a week for me would be a good revision! I'll have a word with the Producers!

Director Craig Revel Horwood is known in the UK as one of the harshest judges on Strictly Come Dancing, did he have equally high standards for you as a performer?

Craig is one of the nicest guys you are likely to meet and could not be any further away from his TV persona! He makes the rehearsal period fun but is also able to bring out the best in performers whilst allowing them the freedom to add their own spin on a character. He sets high standards and so you feel like you want to be at your best all the time. I've really enjoyed working with him.

The show is a particularly challenging one due to its complicated story and score, and also the problems with the book which have plagued productions over the years. Many people are commenting on how this particular production makes the story much clearer and therefore overcomes many of the problems that previous productions have had. Do you agree? And what do you try and do as a performer to make the story as relatable as possible?

I agree and credit must go to the creative team of Craig and Sarah Travis, along with the Producer, Michael, and all of the guys involved in the set and staging of it firstly. It's simple but effective in its staging, forcing you to concentrate on the book and the characters. The problems with understanding the score and sometimes the lyrics of previous productions have been combated by very clever orchestrations at the points where the plot gets a little confusing. The show needs a little help to make it clear in one sitting, but the streamline production values and attention to detail at all times have made that happen. Of course the actors involved have invested so much into the show and maybe learnt from watching previous productions as to how they can best put across their characters. I for one feel that working with Craig, asking questions and constantly scrutinizing scenes, and working with such talented people has helped me fully understand what my part in this show needs to portray. It has to cost you something every show as a performer and I think the investment by the entire cast and crew makes for a more coherent show. Craig decided to focus on the human relationships in the show rather than the Chess and the Cold War and I think people can relate to that a lot more. "Freddie", my character, was almost ahead of his time in terms of getting caught up in the "celebrity" of it all, so I think these days there are many people in the public eye to reference the character on. I can draw upon that and personal experience in many ways, so hopefully people get "Freddie" quite easily!

You get to sing one of the most challenging songs not only in the show, but in the musical theatre canon (Pity the Child), and you did an absolutely beautiful job. How do you approach the song? Do you do anything specific to protect your voice?

Thank you very much. I had sleepless nights about that song for months before we started rehearsals and yes it's a tough song to sing, but like with most things, if you fully dedicate yourself and commit the hours to mould it into your voice, then it is achievable. The penny kind of dropped for me during the rehearsal period. It's all about where you place certain words/notes in your voice. Once you've found a way to do it then it's just practice and stamina. I tend not to talk a lot in loud places while I'm on tour, make sure i warm up properly for an hour or so and drink lots of water, the usual stuff really. And I do have the nightly ritual of hand sanitizer, 20 press ups, vocal zone and huge gulp of water just before that song starts! I'm sure it's all psychological...but I won't tempt fate now in case my voice lets me down! In terms of my approach to the song, that's quite interesting as my character doesn't really have a lot of scenes to establish himself, therefore this song is very important in telling the audience exactly where "Freddie" is coming from. It's a massive journey vocally from almost whispering at the start to belting out top C's at the end and also an emotional journey from how he grew up in a troubled home to how he became world chess champion. It has to cost you something. I feel totally drained after it, but it's very well written and very rewarding for me.

Obviously you won't have much downtime while you are here in Toronto, but do you think you will have the chance to catch any of our homegrown shows?

I would love to, but unfortunately our schedule means that we don't get to see any other shows. I do get the feeling I'll be back here in a vacation capacity however, so I'll try and catch a few shows then.

And finally, what is the main reason you think people should come and check out the show?

Well, if you have a score written by the guys from ABBA and lyrics by Tim Rice, I don't think you need my recommendation, but this is one of the most talented casts I have ever had the privilege of working with. Just to see them act, dance, sing and play instruments to a high quality all at the same time is something you need to see, even if the game of Chess is not your thing!

 

When and Where?
Chess

The Princess of Wales Theatre

Performance Schedule
September 24th - October 30th, 2011
Tues-Sat at 8PM
Wed, Sat and Sun at 2PM

Tickets range from $35 to $130 and can be purchased online at www.mirvish.com or by phone at 416-872-1212

$20 Student and Rush Seats

1 ticket per student (with valid student ID) in person at the box office in advance of the show.  CASH ONLY

Rush seats also available for $20 CASH ONLY for same-day performances.  1 ticket per person and 20 seats per show. 

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