YOU can't help admiring any musical theatre company which takes the brave decision to step away from its tried and tested repertoire and try something new.

Whether it always works out for the best is to an extent immaterial - for in theatre often it's better - to coin a phrase - to have loved and lost than never to have loved at all.

Whether this is indeed the case with AAODS is maybe for audiences to decide but the courage of the company is stepping away from that comfort zone so beloved of reality TV and into new, unfamiliar and at times uncomfortable territory, is laudable.

However you look at it, to step boldly from the sticky sweetness of The Sound of Music to the brash rock opera jangle of Chess is quite a feat and one which was always going to present a challenge.

I first heard the music of Chess as a student way back in the 1980s and loved it. Then, I saw the show and realised, that for me at least, it's one which is much better to listen to than watch.

With an unfathomable storyline and perhaps too much incidental music, there are times when it does boil down quite literally, to watching two men playing chess, which at best doesn't rank highly as a spectator sport.

Of course the show does rise and fall on the qualities of its leading players and with the central pairing of Patrick Callaghan as Anatoly and Lucy Phillips as Florence, AAODS was on to a winner.

Patrick's self contained performance as the Russian was admirable while Lucy sung her heart out as his ill-fated lover. Her performance of Nobody's Side was an undoubted full octane highlight of the evening, while Patrick's Act I closer Anthem - think of Eidelweiss with testosterone - was another.

As angst ridden chess opponent Freddie Trumper, Ian Davies rarely let the pressure drop, although there were times, when he appeared to drift into Jesus Christ Superstar territory with a slightly whingy Judas edge to his performance.

Evelin Sipos was a suitably stoic Svetlana with her famous duet with Florence, I Know Him So Well drawing sighs of recognition from the audience.

Peter Winter made a solid, if difficult to understand, Molokov - although it has to be said that less than clear diction across the board and some mushy sound quality did not help anyone in the audience to follow the complexities of what was happening on the stage.

Completing the principal line up was Rob Jenkins as Walter de Courcey and Andrew Fowler as the Arbiter.

The hugely challenging chorus work as always with AAODS was good and combined with the stunning visual impact of the show - all credit to director Sarah Fowler and musical director Andrew Hopkins - helped ensure its overall success.

Rather like the game itself this was a production which took one step forward and one back - there were some moments which were outstanding and some which dropped off but that said this is a show which countless professional companies have fallen firmly on their checkered boards with so it's difficult to judge too harshly.

What is does highlight, is that we are blessed with some truly talented performers and directors and a company which is prepared to take a risk and for that alone they deserve credit.

I'm rarely at a loss with performances but this one does leave me confused. The best I can say, is give it a go. If you head out expecting jaunty ABBA music you'll hate it - if you think Jesus Christ Superstar rather than Mamma Mia the chances are you'll have a great night. Whatever happens it'll be better than anything you'll see on the box at home!