Chess will play its final performance on June 21 at the Imperial Theatre, ending the Broadway revival three months earlier than planned and canceling Joanna “JoJo” Levesque’s announced turn as Florence Vassy. The production had been set to run through September 13, with Levesque scheduled to begin June 23.

The closing means the revival will finish with 34 previews and 241 performances. It also leaves the current lineup of Nicholas Christopher, Aaron Tveit and Lea Michele to close out the run, with Tveit as Freddie Trumper, Christopher as Anatoly Sergievsky and Michele as Florence Vassy. Hannah Cruz, Bradley Dean, Sean Allan Krill and Bryce Pinkham round out the cast as Svetlana, Molokov, Walter and The Arbiter.

The production’s backers, Tom Hulce, Robert Ahrens and The Shubert Organization, said they were proud of the work the cast and creative team had done in reimagining Chess for a new generation while honoring longtime fans who had championed the musical for nearly four decades. They said the response from both veteran theatregoers and first-time audiences had been rewarding and called the chance to bring the show back to Broadway for the first time in nearly 40 years a privilege.

That return had not been simple. The revival opened last year at the Imperial Theatre after several extensions, but it struggled to hold audiences as newer productions opened around it. Still, by the numbers, this Chess revival outlasted the original Broadway production, which played a 17-preview, 68-performance run in 1988. The current production also drew five Tony nominations this year, though it was not included in the Best Revival of a Musical category.

Its closing now brings an abrupt end to a production built around a well-known score by Benny Andersson and Björn Ulvaeus, with lyrics by Tim Rice, a new book by Danny Strong, choreography by Lorin Latarro and music supervision by Brian Usifer. The final curtain on June 21 will also close the door on Levesque’s planned entrance two days later, leaving the revival to finish where it stands rather than where it was expected to go.

For a show that returned to Broadway after nearly 40 years, the lasting mark is not the extension it lost but the audience it reached before the calendar ran out.