Estate / Collection: Property of Technical Production Manager Jake Bell

CHESS

Jake Bell’s “Tower” Production Script and promotional items for Chess, 1988. Chess was technically ambitious, featuring twelve Periaktoi towers controlled by a stagehand within (see note). Present here is Technical Producer Jake Bell's "Tower Script," housed in a red binder and containing a full copy of the script, most with pages affixed to the versos offering technical instructions and stage cues opposite the text pages. The script is heavily annotated both in ink and pencil and in the copied notes from previous versions, spotting and wear from use. Present is also a second script noted on the cover as "Chess/Elec Qs 1988," which is a photocopied script with copied technical notations.

Promotional items include a signed graphic of both the London and Broadway logos for the show, dated 1988, this being a gift by designers De Wynters; a framed show poster, 22 x 14 inches; a large format souvenir booklet; Playbills and other ephemera.

Technical Production Manager Jake Bell's memories of Chess:

Chess was conceived by Tim Rice as a musical set against the backdrop of an American-Soviet world chess championship match. With Rice, the original album was written and performed by Björn Ulvaeus and Benny Anderson of ABBA. The show opened in London in 1986.

Initially directed by Michael Bennett (A Chorus Line), who had to withdraw due to ill health and later lost his life to AIDS, Trevor Nunn stepped in to bring the production to the stage, leading to its Broadway debut in 1988, with Robin Wagner as the designer. The show was later performed as a concert by the original cast at Carnegie Hall, where it was enthusiastically received. In 1992, Tim Rice reworked the show and staged it at The Master Theater in NYC. After a concert version in London in 2022, Chess is now in production, scheduled to move to New York in the fall of 2025.

At the time of its original production, Chess did not incorporate computers into its technical design. General management was hesitant to invest in the cost of this new and untested technology. However, Jake, serving as stage manager, brought his own first-generation Apple Macintosh computer and used it to track script and technical changes throughout the staging process. Eventually, general management recognized the value of this innovation and agreed to rent the computer from him. To this day, Jake wishes he still had that historic piece of technology.

One of the most technically ambitious elements of the Broadway production was the set, designed by Tony Award-winning designer Robin Wagner. The show featured twelve Periaktoi towers—Greek-style three-sided rotating scenic pieces—each presenting different images or backdrops throughout the performance. The towers varied in height, some reaching eight feet, others twelve. Each was manually controlled by a stagehand inside, who had no external visibility. To guide them, an LED light system was installed on the stage floor, with different colored lights indicating movement paths for each tower. The stagehands received cues via headsets and were expected to follow their designated paths to avoid collisions. However, the LED guidance system ultimately failed. The designer and installer had not created a wiring blueprint, making it impossible to adjust the system as cues evolved during previews. As a result, chaotic “bumper car” scenes ensued. To resolve this, the team scrapped the LED system in favor of fluorescent-painted pathways on the stage floor, illuminated by black lights inside the towers. Stagehands then followed these color-coded paths to their designated positions.

Jake’s primary responsibility as stage manager was to ensure the smooth operation of these moving towers. Some stagehands required extra guidance, while others insisted they knew their routes—even when Jake was urgently directing them via headset to stop or turn to avoid disaster. There were tense moments when a mistimed movement could send a tower into the orchestra pit or onto a moving turntable. Despite these challenges, opening night went off flawlessly—a testament to the dedication and adaptability of the production team.

Chess was deeply influenced by the political climate of the time. When originally conceived, the Cold War was in full swing, fueling a particular interest in East-West relations and potential confrontation. However, by the time the show reached New York, the Cold War was winding down, and the Berlin Wall was soon to fall. This shift in global events may have impacted the show’s reception and relevance. Despite never being a major success on stage, Chess continues to be one of the most beloved and enduring musical scores of all time. With the upcoming 2025 Broadway revival, it may finally find the production style and audience it has always deserved.