The Opening

I saw The Opening on Thursday, January 22 at 7pm at Players Theatre, and it turned out to be a smart, genuinely funny surprise. Billed as “the second most famous musical about chess,” the show knows exactly what it is and leans into that with confidence. This is a sharp, raunchy, high-energy musical comedy that takes a real-world chess scandal and spins it into something absurd, entertaining, and consistently engaging. If you walked in thinking chess was a dry subject, this show happily proves you wrong.

The story centers on Newton Anderson, a 17-year-old chess prodigy on the brink of competing against world champion Carson Marlsen for a massive cash prize and the title itself. Newton is awkward, earnest, and deeply invested in doing things the right way, which makes the temptation to cheat all the more uncomfortable when his best friend Jim proposes a truly unhinged solution. Newton only agrees under strict conditions, but once that line is crossed, everything spirals quickly. Add a sudden boost in high school popularity, a long-held crush, and the mysterious arrival of a masked challenger known as El Trasero, and the stakes become increasingly ridiculous in the best way.

Brooke Di Spirito’s book is unapologetically bawdy and knowingly juvenile, but it is also very clever. The humor lands because it understands its audience and never pretends to be something more elevated than it is. Mateo Chavez Lewis’ music is tuneful, propulsive, and well-suited to the show’s irreverent tone. The score moves easily between comedy, patter, and pastiche, and the orchestrations feel bright and buoyant without ever overpowering the performers. A few songs hit harder than others, but even the weaker numbers serve the story cleanly and keep the momentum going. One song comprised almost entirely of innuendos had the audience in stitches.

Ryan Jacobs is immediately likable as Newton, bringing a wide-eyed sincerity that makes his internal conflict believable even as the plot grows increasingly absurd. Jake Faragalli plays Jim with an easy confidence that contrasts nicely with Newton’s anxiety, and their dynamic is one of the show’s strongest anchors. Harrison O’Callaghan is a standout as Carson Marlsen, radiating smug confidence and delivering his musical numbers with pitch-perfect comic control. Rylee Carpenter does solid work as Jenny, even if the role itself is somewhat thinly drawn.

The supporting cast fills out the world effectively. Mitch Bruce is a particular highlight in multiple roles, especially as a commentator who adds to the show’s self-awareness and sense of fun. Gordon Rothman brings warmth to Newton’s grandfather, grounding the story emotionally even though that relationship is not deeply explored. The cast as a whole commits fully to the tone, which is crucial for a show like this to work.

This is the second show of director Nick Flatto’s that I’ve seen, the first being Stranger Sings!, which I had the humble opportunity to direct on Long Island with a junior- and senior-high cast. Nick's directing is always spot-on, telling stories in unique ways through movement, and here he keeps everything moving briskly. I especially appreciated how the chess games were presented. Unlike the other famous chess musical currently in revival on Broadway, which presents the matches as boring, unmoving announcements of moves, this production renders them fast-paced, move-accurate, and genuinely entertaining. Di Spirito’s choreography supports the storytelling without drawing unnecessary attention to itself. The production is smart about its limitations. With only basic furniture onstage, the show relies on performance, lighting, and pacing to build its world, and it succeeds. Zach Dulny’s lighting does a lot of heavy lifting, helping distinguish locations and heighten key moments.

What ultimately makes The Opening work is its willingness to be silly while still telling a coherent story. The twists are fun, the humor is unapologetically crude at times, and the show never loses sight of its central question about ambition, integrity, and the ridiculous pressure we put on winning. It is not trying to reinvent musical theater. It is trying to entertain you for a tight ninety minutes, and it does exactly that.

This is a confident, enjoyable new musical from writers who clearly understand tone and structure. I had a great time watching it and left impressed by how much ground it covers with such a lean production. If you are in the mood for something funny, surprising, and smarter than it initially lets on, The Opening is well worth your time.

It is a limited engagement and running through February 8, 2026. I acquired my ticket through the Theatr app the day of the performance for less than $20.