And just like that, we’re on to Round Three of Middle-earth March Madness 2025: The Art of Middle-earth. From 64 works of art which started in the four brackets, now we’re down to the Sweet Sixteen; and in this round, you only have three days to vote. Round Three voting is open now!
Round Two for the most part had pretty clear winners in the match ups. The one VERY close battle was between Angelo Montanini’s Radagast the Magician and Turner Mohan’s Lúthien and Morgoth. These two very different works were in a stalemate for most of the round. A brief flurry of votes in the final hour saw them continue to swap places for the lead, until finally, when voting closed, Mohan’s extraordinary work come out the victor – but by just ONE VOTE!
Lúthien and Morgoth by Turner Mohan
One perhaps surprising departure in Round Two was John Howe! His Barrels out of Bond was narrowly defeated by Kip Rasmussen’s Thingol and Melian, which claimed 56% of the vote. Both are gorgeous pieces; it just shows how difficult it is to choose when all these artists are so talented, and their visions are so different. It now looks like Alan Lee and Donato Giancola may meet in the Elite Eight, to decide the overall winner in the ‘Landscapes’ bracket; but first, they have to make it through this next round!
Thingol and Melian, by Kip Rasmussen
Some thoughts from staffer Madeye Gamgee on the contest so far:
In the Sweet 16, as far as book “Conferences” go, we have representation from:
The Silmarillion — 4
The Hobbit — 3
The Lord of the Rings – 9
We had some very familiar artists get knocked out of the tournament this round, including John Howe, Justin Gerard, Jerry VanderStelt, and Colleen Doran. Surviving are newer artists like Anna Lee, Edvige Faini, Soni Alcorn-Fender, and Eric Velhagen. Art from titans Donato Giancola and Alan Lee may be heading to a face-off in the Landscape finals. Can Ted Nasmith’s work prevail over less well-known but formidable competing artwork? Will the comfort of David Wenzel’s classic Hobbit graphic novel be enough to overcome what may be the most diverse group of competing artwork in the Groups/Montages region? It’s not getting any easier!
Take a look at the fours brackets as they now stand; which masterpiece do you think is en route to becoming to champion for 2025? As always, we encourage you to take some time enjoying the art, and perhaps follows some links to check out other works by the artists, before you place your next votes. (You can also always access the earlier rounds at the voting link; so all these incredible pieces are still there for your viewing pleasure!)
Decisions are getting harder, as the field narrows. How you make your choice is up to you!
How does it work, you ask? Simple! Click on the button below. This will take you to the voting site, where you can view the entire bracket, and also view individual works in all their glory (and details of the artist). Place your votes for Round Three: Sweet Sixteen!
You have until the end of the day Saturday March 29th to vote in Round Two; on Sunday 30th we’ll open voting for Round Four! That Sunday, we’ll also have a very special livestream at 3pm PST, when none other than Ted Nasmith will join us, to discuss his ‘The Kinslaying of Alqualonde’, which features in the ‘Story Moments’ bracket – and he may even share some preliminary sketches with us! We hope you’ll join us for that, as you make decisions on the Elite Eight round; but first, go and examine the Sweet Sixteen! Vote well!
With thousands of votes over all the pairings, Round One of Middle-earth March Madness 2025: The Art of Middle-earth is done; and half the wondrous works of art have been eliminated. If you joined us for any of our livestreams, you’ll know how tricky those choices were; and from here on, it only gets tougher! Voting is open now for Round Two!
Round One saw some VERY close battles – and indeed, few works won by really wide margins. In the ‘Landscapes’ bracket, Mary Fairburn’s Gandalf on the Tower of Orthanc beat Federico Cimini’s Rhosgobel by less than 1% of votes cast! That same bracket, however, saw one of the biggest victories: Alan Lee’s Edoras took 86% of votes, to defeat Paul Gregory’s Caradhras – a beautiful work which might well have made it through to Round Two, had we not set it up with such a challenging opening round battle!
Edoras by Alan Lee
Check out the bracket now, to see which pieces made it through. Then we hope you may linger a while, spending some time with the 32 remaining pieces, before you place your next votes.
How you choose is up to you! How you vote is explained below:
How does it work, you ask? Simple! Click on the button below. This will take you to the voting site, where you can view the entire bracket, and also view individual works in all their glory (and details of the artist). Place your votes for Round Two!
You have until the end of the day Wednesday March 26th to vote in Round Two; on Thursday 27th we’ll open voting for Round Three! We’ll have more livestream discussions of the featured art – and look out for some very special guests coming up, as well as some giveaways! Join us on Tuesday 25th for TORn Tuesday where Jerry VanderStelt will be our guest, to discuss his piece in the ‘Montages’ bracket, The Fellowship of the Ring. We hope to see you then – perhaps you may want to wait to vote until after that stream, in case it changes your mind…?
Our first panel, ‘Celebrating Tolkien Reading Day’ will be on Friday, March 28 at 6:00 pm in Room 207. We will be reading some selections from various Tolkien books, and there may be a few little surprises along the way. This panel, in particular, will be very family-friendly, we may even call a few children to the front to join us in storytelling. Follow the link below to see details.
Our second panel, ‘Lord of the Rings: Previewing Upcoming Projects’ will take place on Saturday, March 29 at 2:00 pm in room 211. This panel will be where we discuss all the recent and soon-to-come Middle-earth-themed shows, films, books, games, and more. The link below shows more details.
As you no doubt know, March 25th is Tolkien Reading Day – a tradition begun by The Tolkien Society in 2003. Not that we need any excuse to celebrate the works and worlds of the Professor! But on Reading Day – and the days around it – there are often special events. And this year is no exception!
You may recall that last year, composer and sound engineer Jordan Rannells (the creator of the Long-expected Soundscape: music and ambient sounds to create a world around you, as you read The Lord of the Rings) teamed up with ArdaCraft to bring us a live stream event, where parts of The Fellowship of the Ring were read over the corresponding chapters of the Soundscape. This year, Rannells is doing it again!
On Sunday 23rd March you can listen along to readings from The Return of the King, surrounded by ambient sound – immerse yourself in Middle-earth! Enjoy readings from folks such as artist Ted Nasmith, composer Stephen Gallagher, and TORn’s own Quickbeam and greendragon – plus a whole host of familiar faces and wonderful folks from the fandom.
The whole thing kicks off at 12pm EST on Sunday, and you can find it here. Set your calendar – get ready to spend the day in Middle-earth!
Spring is springing in the Northern Hemisphere, and that means it is time for March Madness! We here at TheOneRing.net always like to join in the fun; and this year, we bring you Middle-earth March Madness 2025: The Art of Middle-earth.
As those who joined us for the livestream launch yesterday know, this year we’ve chosen 64 works of art – artists’ imaginings of the realms and characters created by The Professor. These are then divided into four ‘Regions’: Landscapes, Portraits, Story Moments, and Groups/Montages.
As you can imagine, it was very difficult to narrow the field to 64 artists and then to choose just ONE work from each artist! (But we certainly had fun, exploring and perusing and immersing ourselves in Middle-earth art!) Now we hand the difficult decision making over to YOU! As ever, our March Madness plays out in six rounds, with half the entries getting knocked out each round. So right now you have the challenging task of voting to reduce 64 wonderful art works down to just 32!
How will you choose? That is entirely up to you! But first, a word about OUR choices:
You will notice the absence of Tolkien himself in this ‘contest’. We decided it would be unfair to include The Professor’s own art work – for surely he would be the clear winner! So the pool is made up of artists INSPIRED by Middle-earth, not the creator of Middle-earth himself. We also have not included art from film. There is of course art inspired by film – you can see a clear influence of Peter Jackson’s movies on some of these works – but we have not included, for example, stills from the recent, beautiful anime movie The Lord of the Rings: The War of the Rohirrim, nor from Ralph Bakshi’s 1978 The Lord of the Rings (though you will find the poster from that film in one of the brackets!)
This year’s March Madness, more than ever, is very much ‘for fun’. We didn’t seed our choices this year; we felt it was impossible to create any kind of ‘rank’ for these stunning visuals. Likewise, your vote will be entirely about your own personal taste. There is no ‘best’ piece amongst these 64 – only the ones YOU like best. So, vote however you would like. Toss a coin, if it comes down to it! But DO take some time enjoying all of the art. Our hope is that fans will take pleasure in revisiting familiar works, and also that many people will be introduced to artists whose work they do not already know. We’ve made sure to include links where available, so perhaps you’ll head off down a rabbit hole to explore more pieces by a painter you’ve just discovered. Maybe you’ll even buy some works from that artist, for your own wall! (And that’s actually quite a good ‘yard stick’ for decision making – ‘Would I like to hang this on my living room wall?’)
In short, treat the voting brackets like an art gallery. Stay a while! (You have until midnight EST at the end of March 22nd to vote in Round One.) Gaze, reflect, ponder, enjoy. And then VOTE.
How does it work, you ask? Simple! Click on the button below. This will take you to the voting site, where you can view the entire bracket, and also view individual works in all their glory (and details of the artist). So let’s get voting!
You have until the end of the day Saturday March 22nd to vote in Round One; on Sunday 23rd voting will open for Round Two! Look out for more livestream discussions of the featured art, coming from our TORn Tuesday team, where we’ll also have some very special guests – and some giveaways! Keep an eye on our socials for all details. We hope you enjoy exploring this Art of Middle-earth; let the games begin!
The Lord of the Rings: A Musical Tale has opened in Australia – and staffer Eorl the Young was there for the premiere. Here’s his review of the experience:
As reported previously on TheOneRing.net, the phenomenal production of The Lord of the Rings — A Musical Tale, that had been playing in the USA and New Zealand in 2024, finally made its debut in Australia this month.
The State Theatre, Sydney
I had the privilege of attending the Sydney premiere, and it was an unforgettable experience.
Held at the iconic State Theatre, with its ornate ceilings, art deco charm, and grand ambience, the venue felt perfectly suited for a tale as epic and timeless as Tolkien’s.
From the moment I walked up the street to the venue, it was clear this wasn’t just another night at the theatre — the excitement in the air was palpable even outside the theatre where fans queued up several hours before the show began.
Many dressed as characters from Middle-earth and were in high spirits as they milled about the entrance; Boromir, several Elves (including two Arwens), a remarkably creative “sexy Shelob”, and an Eye of Sauron, all made an appearance.
The State TheatreElves on the Red CarpetThe Two ArwensEowyn & BilboSexy Shelob & The Eye of SauronArwen & Boromir
The evening started on an unexpectedly warm and interactive note.
Before the performance began, the cast embraced the audience, singing impromptu Hobbit-themed songs accompanied by various musical instruments, and playing Shire-themed games like ring toss (the hilarious symbolism dawns on me as I write this).
Hobbits discover a magical object before the show (a mobile phone with a selfie cam!)Arwen tries her hand at Ring-toss in the Shire
When the cast were all assembled on stage, they invited everyone to join in a spirited rendition of Happy Birthday to Bilbo. We thought it was part of the pre-show fun and games, but the Happy Birthday song that we were invited to sing was in fact the beginning (and a very innovative one at that) of the musical itself, with the ending segueing perfectly into the beginning of Act I.
This playful, Hobbity opening instantly set the mood, drawing the audience into Middle-earth with a sense of camaraderie.
THE CAST
Unsurprisingly, the performances were nothing short of extraordinary, as the musical starred some of Australia’s acclaimed musical theatre performers and actor-musicians, including Jemma Rix as Galadriel, Ian Stenlake as Saruman, Rob Mallett as Strider, and Rarmian Newton as Frodo Baggins.
Bilbo (Laurence Coy) was adorable, both on and off-stage, to the point you wanted to talk with him for hours on end, and invite him to breakfast, and second breakfast, like an old friend.
Bilbo (Laurence Coy) mingling with his Birthday Party guests while Hobbits dance the Springle-ring on stage
Gandalf (Terence Crawford) commanded the stage with a voice and presence that perfectly captured his wisdom and gravitas.
Frodo and Sam’s portrayal was heartfelt and deeply moving throughout, their friendship anchoring the emotional core of the production. They were the leads after all, and their casting was as close to perfect as one might hope to expect.
Merry and Pippin brought energy and humor throughout, providing much-needed levity in darker moments.
And Galadriel! Galadriel was a true standout. Jemma Rix’s voice was constantly powerful and haunting, her every performance resonating throughout the theatre. Her solos were an absolute highlight, commanding the room every single time with their sheer vocal power. It isn’t a stretch to presume she left the audience spellbound each time she ended with a rousing crescendo, as I noted that there was always a momentary stunned silence before the audience applauded her performance.
Aragorn and Arwen’s unexpected duets brought tender moments of longing and love (yes, they kissed!)
Boromir (Rohan Campbell)
Boromir’s character brought intensity and humanity to his arc.
Fans will appreciate his performance knowing the fate that befalls him. That scene was a high point of the production, deeply emotional and handled with care.
After the show, the actor (Rohan Campbell) mentioned how much it meant to him to do justice to Boromir’s redemption. You could tell.
Extra special mention must go to Smeagol / Gollum, who was an absolute marvel from his first appearance until his final moment of moments. His physicality, rasping voice, and duality were all executed to perfection – yes, perfection, and perhaps beyond perfection.
This a role that will undoubtedly invite comparisons to Andy Serkis’s Gollum for an entire generation of LOTR fans, and yet the actor (Laurence Boxhall) delivered something fresh while staying true to the essence of Gollum. Chilling, silly, hilarious, menacing, pitiful… I could go on.
MUSIC AND SONGS
The musical took a bold step by introducing original songs rather than adapting Tolkien’s verses. While this might disappoint purists, the new music more than justified its inclusion.
“Forever and Always”, a poignant duet between Frodo and Sam, was my favourite. It brought a particularly memorable tone to the entire show, blending heartfelt emotion with an absolutely surprising, bone-chilling interruption from Gollum that sent shivers down my spine several times (without exaggeration). The actor is absolutely amazing in this role. This song, and the three-way performance, was one of the biggest highlights of the show for me.
Overall, the music wasn’t just functional; it added layers to the story. Each song — whether it was an intimate love ballad between Man and Elf, a melancholic duet between Hobbit mates, a sweeping chorus of Elves, or a raucous Orcish battle-song — felt deliberate and evocative.
While I missed Tolkien’s lyrics at times, the original compositions stood firmly on their own, supported by stellar performances.
I would actually hope the producers are able to record one of the live performances and release in some form of media at least the music, if not the entire live production, so fans who don’t have the ability to experience this performance in person can also have the opportunity to hear these songs.
STAGECRAFT AND VISUALS
The production’s technical achievements were nothing short of spectacular.
Bilbo’s disappearance at his Eleventy-first Birthday Party was executed with dazzling effects — light, fire, and smoke combining to create a truly magical moment.
The Nazgûl’s entrance was one of the most chilling sequences, with the actors weaving through the aisles as eerie lights and sounds amplified their menace. Seeing them so close in the darkened theatre was a spine-tingling experience.
Other standout moments included the Balrog in Khazad-dûm, brought to life through a clever interplay of light and fabric that evoked its fearsome presence without overloading the stage.
And then there was Shelob! A massive spider puppet emerged from the darkness, literally taking up the entire stage, its movements so lifelike and creepy that the entire audience gasped audibly. It was a jaw-dropping moment of stagecraft that has to be seen to be believed.
The show also excelled at juxtaposition. The Battle of the Pelennor Fields was brilliantly interwoven with Frodo and Sam’s climb up Mount Doom, keeping the tension high across both storylines at the same time. Magical!
Even quieter moments, like Frodo slipping into the “shadow world” when wearing the Ring, were handled with inventive lighting, sound, and acting that heightened the drama and left the audience in silence enough to hear a pin drop.
ADAPTATION AND STORYTELLING
Adapting The Lord of the Rings for the stage is no easy task, and compressing such a vast narrative inevitably means sacrifices.
Some scenes leaned heavily on exposition, which felt a little overexplained at times; but these moments helped orient audience members less familiar with the story. On the whole, the streamlined approach worked, focusing on the most essential arcs without losing the heart of Tolkien’s tale. For example, Theoden was the only character from Rohan featured in the Helm’s Deep sequence — a choice that made sense, given the constraints of time and complexity.
What stood out most was the creativity in how the production handled certain moments.
Treebeard was represented through voice acting alone, with Merry and Pippin reacting to an unseen presence in a way that felt natural and compelling. Kudos to both actors for bringing believability and upholding what could have been one of the weaker points of the production.
Likewise, Bree’s doorkeeper was conveyed entirely through sound effects and timing. The actor’s timing, paired with perfectly synced sound effects of the creaking gate, brought the scene to life despite its simplicity. It was a small but memorable moment, with the actor fully committing to the role and adding a touch of humor and authenticity that stayed with me.
These small, clever touches added unexpected charm and ingenuity to the storytelling.
HIGHLIGHTS AND FINAL THOUGHTS
The emotional resonance of the musical was undeniable.
The Grey Havens finale left many in tears, myself included, echoing the bittersweet beauty of Tolkien’s original ending. So many performances and moments lingered with me long after the curtain fell.
The cast bows out after a stellar performance
One thing that did stand out to me though was how understandable the production was. I spoke to a couple of people who had never read the books or seen the movies, and they loved it as a standalone work. It drew them into the story enough that they came away wanting to know more about Tolkien’s world. That’s a testament to how well the production works, as an adaptation, as a piece of theatre, and as a tribute to Tolkien.
Of course, no adaptation can please everyone.
Purists may find things to criticise — whether it’s the absence of Tolkien’s original songs, or the inevitable omissions in the story. But I don’t believe the aim of this production is to recreate The Lord of the Rings exactly as it exists in the books. That would be an impossible task anyway. Instead, the musical offers a fresh, deeply creative interpretation that stands as a testament to the power of theatre and the enduring relevance of Tolkien’s work.
Inside the theatre, I spoke to some of the wonderful designers behind the show’s many costumes, and as I was leaving, I spoke with a lovely couple whose daughter happened to have worked as a dresser for the show. They all shared how hard the cast and crew had worked in the lead-up to the premiere, with 13+ hour days to perfect every minute detail. It’s a testament to their dedication that the result feels so polished, from the acting and music, to the stunning technical effects.
Crew (Costume Designers)Crew (Dresser)
I certainly plan to attend again before the musical completes its Sydney run. There’s so much to take in, and so many blink-and-you-miss-it moments, that it’s worth a second (or third) viewing.
For fans of Middle-earth — or anyone who loves epic, immersive theatre — this is an experience you won’t want to miss. Tickets are available – for Sydney, other locations in Australia, and for the UK and Singapore – here.
