Hot on the heels of Staffer Madeye Gamgee’s excellent review of the Chicago premiere of The Lord of the Rings musical, TORn Discord chatter Stickybeebae offers more thoughts after seeing the production.
The Lord of the Rings musical: a must-see with familiar elements and exciting new twists
By Stickybeebae
Last week, I had the chance to catch the show and catch up with several actors and fans afterwards. Seeing the musical, which debuted 2006, had seemed like a far off dream, as its original run had ended before I finished high school. Helmed by a different production team, this rendition still keeps the original score by A. R. Rahman and Varttina and script with some modifications when it comes to general ambiance.
Though the budget is scaled down, which also made the show more accessible, there is not a lack of quality.
Photo credit: Chicago Shakespeare Company
Our journey begins with a soft opening of Bilbo Baggin’s 111th birthday party, where the audience is invited to participate in the form of yard games and conversation with the guests. It was a delightful surprise that I hoped would be carried over from the Watermill Theater, where this production launched, as the Chicago Shakespeare Theater is a very different venue.
Rick Hall as Bilbo Baggins, welcomes the audience to his party.
After Bilbo’s grand exit, the plot takes a darker turn as those familiar with the books and films are aware, and the story clips along at a steady pace. Due to the condensed nature, there are some liberties taken with this adaptation, most prominently the combination of the Two Towers and Return of the King and several character omissions such as Eowyn, Eomer, and Faramir. Denethor also takes on a very different role and in many ways is reminiscent of Theoden. The exposition is never heavy handed and gives audiences enough backstory to understand this rendition and the characters involved, without becoming burdensome. One example of this is the introduction of Gollum, which occurs during the Council of Elrond, as we are introduced to his backstory through a flashback enacted by shadow puppets.
Given the fantastical nature of Middle Earth and manner of frightening and mystical creatures, puppetry becomes an integral component of the production. The first emergence are the skeletal horses of the black riders. I was blown away by what the production was able to accomplish in terms of effects to bring the show to life. Whether it was the grand illumination of the Door of Durin, or the terror of the Balrog awakening in the Mines of Moria, it felt like you were there experiencing the events with the characters. My only disappointment was the lack of physical presence of Treebeard and the Balrog, which are largely achieved through sound design and lighting effects.
The physical performances of the actors is what really breathes life into this adaptation of Tolkien. Spencer Davis Milford gives a haunting portrayal of Frodo as he grapples with losing himself to the ring. Due to the truncated nature of the story, his gradual realization that his story could potentially echo Gollum’s is a highlight in terms of character arcs. Tony Bozzuto as Gollum is delightfully unhinged, as he spends much of the second act bouncing around the stage.
It’s reminiscent of Andy Serkis’s portrayal both in terms of movement and voice, but he achieves it without any CGI. I asked him after how he was able to maintain that sort of energy throughout the show and he credited feedback from the audience, so when you go don’t hesitate to laugh, cry, or in the case of when Shelob appears, shriek like a small child. Another standout performance was Will James Jr., who had a commanding presence worthy of the character of Aragorn. It takes little suspension of disbelief to imagine him motivating the armies of the west to march into Mordor.
Instead of an orchestra, there is a cozier feel as the cast play their instruments on stage. Gimli has a lament to Moria with an acoustic guitar that will steal your heart, and when Sam reminisces about the Shire, an ensemble of hobbits and Rosie lifts him up in song. It is hard to rival the performances of the great Laura Michelle Kelly and Rosalie Craig but Lauren Zakrin and Alina Taber did phenomenal jobs as Galadriel and Arwen, respectively. And it shows that the grand acrobatics of the original musical were not necessary to bring those characters to life. There is a strong South Asian influence to Anjali Mahra’s choreography that incorporate movement that almost weave the story together like a tapestry. The show finds ways to keep the battles interesting and engaging without a massive cast of extras, and there is an “avenger’s assemble” moment that occurs right before the return of Gandalf.
One creative liberty the show explores is exactly what the one ring tempts Frodo with, which is forestalling the decay of magic and the loss of the elves. Though as Frodo and Sam trudge through Mordor, Galadriel sings “Wonder” accepting that though Lothlorien will fade, new life will prevail which we see a glimpse of during the Epilogue. I highly recommend bringing tissues for the finale, as it’s as much of a tear jerker as its predecessors.
After the show, I took some time to explore Navy Pier, and caught up with a group of fans wearing bespoke Lord of the Rings shirts who had ventured from Utah to see the show. Some of their takeaways were that it was a great experience for anyone who had missed the original run, and that the new voices and incorporation of a band onstage really invigorated the score. I also had a quick chat with Will who expressed “I feel like I have the greatest job in the world because this role [Aragorn] is so iconic. Both in literature and in what was immortalized in the films, so it was a blast to revisit this work in such a unique presentation.”
Will James Jr. unveils Anduril as Aragorn. Photo credit: Chicago Shakespeare Theater.
As a whole, the Lord of the Rings musical is a must see that has familiar elements but the format brings in new twists in an experience you won’t want to miss.
Regular readers will know that The Lord of the Rings: A Musical Tale has been playing at the Chicago Shakespeare Theatre (quick, catch it before it closes on Sept 1!); and will then head down under, first to New Zealand and then to Australia. Staffer Madeye Gamgee went to see the show in Chicago, and was fortunate to have an opening preview conversation with Producer Kevin Wallace.
“This is all about the Hobbits telling their story.”
Pippin (Ben Mathew), Sam (Michael Kurowski), Frodo (Spencer Davis Milford), and Merry (Eileen Doan) dance as only hobbits can.
This Gandalfian counsel from The Lord of the Rings: A Musical Tale producer Kevin Wallace provides an essential lens for anyone engaging in the magic that sweeps across the Chicago stage in this re-imagined production of the epic Tolkien classic. Just as Tolkien himself discovered upon penning, “In a hole in the ground there lived a hobbit,” so too this musical seeks to transform the epic into the intimate, connecting us to joyfully humble hobbit roots through memorable songs, sparkling dance, and music from the performers themselves. “It’s a retelling of their story,” per Wallace; appropriately so given Frodo’s entrusting of the Red Book of Westmarch to Sam and his progeny. The songs go ever on and on.
Originally conceived “as a great piece of commercial art” in its mithril-financed, three-act/3.5 hour initial form for Toronto (2006) and London’s West End (2007-8), ‘The Lord of the Rings Musical’ has seen a renaissance at a much more hobbit-like scale. Now billed more simply as A Musical Tale, the 2023 revival at the Watermill Theatre in Newbury (UK) dropped an entire act, reduced the number of actors by more than 40, and compressed the run time by nearly an hour. (You can find staffer greendragon’s review of that production here.) “Compared to the earlier productions, this is ‘rough’ theater,” Wallace explained. “It’s hobbits telling their story with what’s available to them… It’s actually ‘big’ theater with the illusion of being ‘poor’. You’re allowed to see how we’re doing it.” Which is why Pippin goes to war carrying a cello, a feat which comes off surprisingly well, to the consternation of a few marauding orcs; and we’re talking some serious swordsmanship by the double bass player.
Two and three quarter hours to cover the whole book? Really?
Spencer Davis Milford as Frodo and Tom Amandes as Gandalf
The PJ extended edition movies combined run for over 12 hours of content, and listening to the unabridged audiobooks will take you at least 54 hours at regular speed. So how is it possible to pack all of this theatrical Third Age goodness into the flight time between New York and Chicago (and still in time to wrap up before all the local restaurants close)? Kevin Wallace is very familiar with the challenge: “Given the films, we must satisfy our audience’s primary expectations.” Appearances by a very shadowy and flame-flowing Balrog, a stage-filling Shelob, and an especially spot-on and athletic homage to Andy Serkis’ Gollum (by actor Tony Bozzuto) certainly fed these appetites. “The essence of the story, though, is Sam’s and Frodo’s journey. Side sections have to fall away…” So the lands of Gondor and Rohan become “the Lands of Men”, Théoden and Denethor combine to become simply the “Steward of Gondor”, and we lose storylines and characters that many find dear. All you lovers of beacon-lighting, Paths of the Dead/Dead Marshes, and “I am no man” heroics may need a post-play re-watching, particularly of the second two movies, to scratch those particular itches. But even though there’s still no Bombadil, if you’ve ever wondered what John Lithgow’s version of Treebeard would sound like, this is the production for you.
Still, this is no mere cryptic condensation – despite what some less flattering critics have dwelled on since the inaugural performances in London and Toronto. This production certainly rewards any who are already familiar with the LotR story and personalities, whether through the book and/or movies: character connections are easier, e.g., between Merry and Pippin or Frodo and Gandalf; and plot compression leaves room for personal appreciation of excluded side quests and lost details. I found that the musical’s condensed frame actually served to intensify how I experienced some core Tolkien themes: the blending of voices, musical languages, and cultures in a functioning (and whirling) Fellowship; the enchantment and providential intricacy of dance as an element of creation and connection; the longing and reassurance of beauty observable in stellar spheres, sharply contrasted with the darkness that lingers here in Middle-earth (thank you, Kevin, for continuing to defend the inclusion of “The Star of Eärendil” on the song list!); and especially the hope and heartbreak of repentance, sometimes attained as with Boromir, and sometimes approached and then rejected, as with Gollum’s tragic tale. This was beautifully portrayed (far better than anything PJ produced) in Gollum’s self-aborted restoration to a more noble, never-ending story of worthy Hobbit heroes, as sung by Frodo and Sam in the poignant “Now and for Always” as they approach Mordor and Shelob’s snares. Gollum’s plaintive lyrical mimicry, and the mirroring choreography as he and Frodo together reach for some unseen saving grace, all leverage live theater powerfully in a demonstration of their shared addiction, and diverging paths, given the power of the One Ring. We even hear a faint note of self-sacrifice from Sméagol as he falls toward the Cracks of Doom, “Master is free…”
While condensed, this Musical Tale still manages to offer worthy, and unique, moments to integrate into the ways you may have experienced the artistic and thematic power of Tolkien’s story.
The Road Keeps Going Ever On
The Red Book of Westmarch gets a new owner at the Grey Havens in this production, too!
The Lord of the Rings: A Musical Tale continues to evolve. “Our Watermill production was a beautiful, intricate Swiss watch,” said Wallace. “Now, here in Chicago, we’ve built a more highly sophisticated Swiss clock.” Even with all the sets, puppetry, and props shipped in from last year’s UK production, the US premiere enjoys a larger venue than the Watermill, courtesy of the Chicago Shakespeare Theater’s innovative and flexible stage, The Yard. Director Paul Hart works wonders in leveraging this flexibility, from multilevel balconies built into the set, to Gollum’s gymnastic entrance from mid-audience to begin Act 2, to the lighting and mechanical magic that the set makes possible. The US cast and orchestration has also grown a bit from its Watermill roots, adding four new cast members/musicians (including that dangerous double bass). “It’s a production with Chicago ownership, reflecting the demographics and acting talent of the city,” added Wallace.
So where does the Road lead once the Chicago production wraps on September 1? The Civic Theater in Auckland has already scored a similar limited run as Chicago’s, with shows from the 5th though the 24th of November. And just announced is an Australia premiere, with performances beginning at the Sydney State Theater on January 7, 2025. And whither then? Well, wait and see!
“This production is not only a phenomenal opportunity, but also a huge responsibility. You just don’t want to take it for granted… In time, others will take the words and the music and ask, ‘How will I tell that story?’ But we’re still in our infancy with this one.” Suffice it to say that Kevin Wallace has dreams. Big dreams. Take some jewelry to Mordor big, unsurprisingly.
The Lord of the Rings: A Musical Tale continues through September 1 at the Chicago Shakespeare Theater. You can find tickets on their website, here.
Staffer Madeye Gamgee and his wife Rosie (Emily and Jim Wert) bookend longtime TORn friend/birthday girl Prof. Constance Wagner, and our new friend Michael Kurowski post-preview. And Samwise sure sports some stylish shoes when not in hairy feet!
(FRODO (Spencer Davis Mildford, at Chicago Shakespeare Theatre); Photograph by Liz Lauren)
Here’s what the press release tells us:
THE LORD OF THE RINGS – A MUSICAL TALE CONFIRMS AUSTRALIAN PREMIERE
[Thursday 15 August] The Lord of the Rings – A Musical Tale, the stage production based on J.R.R. Tolkien’s epic trilogy beloved by generations of readers, will make its Australian premiere at the State Theatre Sydney from 7 January 2025.
Longtime fans and newcomers alike will journey to Middle-earthTM in the company of Hobbits, as J.R.R. Tolkien’s trilogy of books The Lord of the Rings is brought to life on stage by a cast of multi-skilled actor-musicians, in a theatrical event that celebrates community, courage and camaraderie. “Tolkien would have been so proud” – WhatsOnStage
Created under license from Middle-earth Enterprises (the owner of exclusive worldwide motion picture and stage rights for The Lord of the Rings), producers confirmed Australia secured the production following its highly anticipated US premiere at the Chicago Shakespeare Theater. “A MUST-SEE SHOW to put on your summer list” – Chicago Stage & Screen.
The Lord of the Rings – A Musical Tale had its initial production at The Watermill Theatre in the United Kingdom, receiving rave reviews with The Guardian proclaiming it ‘The Greatest Show on Middle-earth’ and the Mail on Sunday calling it ‘Something rather wizard”. The production will also play in Auckland, New Zealand, at the end of 2024.
The Australian production arrives following the 70th anniversary of the publication of The Fellowship of the Ring, the first book in The Lord of the Rings trilogy which debuted in 1954.
“The Lord of the Rings – A Musical Tale is a celebration of storytelling at its finest, most electrifying and enigmatic; and we are so pleased to support this epic adventure as it travels to the magical continent of Australia from its origins in Middle-earth. At the risk of sounding cliché, this truly is a show you cannot miss,” Fredrica Drotos, Steward of MEE, emphatically declared.
“It is time for Australia’s actors and actor-musicians to tell their version of The Lord of the Rings – A Musical Tale in Paul Hart’s wonderful theatrical production, and we are looking forward to their bringing Middle-earth to audiences at the State Theatre, Sydney”, said Kevin Wallace of Kevin Wallace Productions on behalf of the producers.
As the Hobbits celebrate Bilbo Baggins’ eleventy-first birthday in the Shire, he gifts his nephew Frodo his most precious belonging – a gold ring. This fateful moment launches Frodo on a legendary and perilous quest across Middle-earth to the darkest realms of Mordor, to vanquish evil with his loyal Fellowship. The dynamic folk-inspired score is performed live by the company on stage, weaving together original music with storytelling.
Auditions have already begun in Australia to find the next generation’s iconic roles from the beloved trilogy, including Hobbits Bilbo and Frodo Baggins, Gollum, Galadriel, Gandalf, Arwen and Aragorn.
On behalf of Australian co-producer GWB Entertainment, Torben Brookman said, “This is a production that will delight The Lord of the Rings fans of all ages, whether you are 8 or 80, there is something for everyone in this brilliant telling of J.R.R. Tolkien’s classic tale. It is the perfect show for the summer in Sydney and we could not be more delighted to bring the production to Australia.”
The Lord of the Rings – A Musical Tale features a book and lyrics by Shaun McKenna (Maddie, La Cava) and Matthew Warchus (Groundhog Day) and original music by Academy Award winner A.R. Rahman (Bombay Dreams, Slumdog Millionaire), Finnish folk band Värttinä, and Tony Award winner Christopher Nightingale (Matilda the Musical).
The Lord of the Rings – A Musical Tale is presented in Australia by Kevin Wallace Productions, GWB Entertainment, Middle-earth Enterprises, Tim McFarlane, KHAM Inc, People Entertainment Group, The Watermill Theatre and Chicago Shakespeare Theater.
THE LORD OF THE RINGS – A MUSICAL TALE
STRICTLY LIMITED SEASON AT THE STATE THEATRE SYDNEY
FROM 7 JANUARY 2025
WAITLIST OPEN NOW AT LOTRONSTAGE.COM
As a reminder: you can read TORn staffer greendragon’s review from the production at The Watermill Theatre last year, here. Staffer Madeye Gamgee saw it – and loved it – in Chicago. Who is going to see it in New Zealand or Australia? Don’t miss it!
Breaking News: The Lord of the Rings – A Musical Tale, which is about to have its US opening of Paul Hart’s staging (at Chicago Shakespeare Theater’s The Yard), is going to be heading to New Zealand later this year.
THE LORD OF THE RINGS – A MUSICAL TALE COMES HOME TO MIDDLE-EARTH
THIS NOVEMBER – IN A 5 WEEK BLOCKBUSTER SEASON AT THE CIVIC, AUCKLAND
WAITLIST FOR TICKETS NOW OPEN!
“THE GREATEST SHOW ON MIDDLE EARTH’ – THE GUARDIAN “AN EXTRAORDINARY RETELLING” – WHATS ON STAGE
The Lord of the Rings – A Musical Tale will play at The Civic, Auckland for a strictly limited season from November 5th, 2024. Join the waitlist NOW to secure your tickets.
The Lord of the Rings – A Musical Tale will premiere in Middle-earth when this eagerly awaited production opens for a strictly limited season at The Civic, Auckland from November 5th. Audiences are encouraged to act fast and join the waitlist for the first chance at securing tickets at www.LOTRonstage.com.
The highly anticipated production has its US premiere this July at Chicago Shakespeare Theater, the prestigious theater that has launched productions such as SIX, Illinoise, and The Notebook ahead of their Broadway debuts. The Lord of the Rings – a Musical Tale had its initial production at The Watermill Theatre in the United Kingdom, receiving rave reviews with The Guardian calling it the ‘Greatest Show on Middle-earth’.
This journey to the magical realms of Middle-earth tells the story of The Lord of the Rings from the Hobbits’ perspective, as J.R.R. Tolkien’s trilogy of books is brought to life on the stage, performed by a stellar cast of multi-skilled actor-musicians.
Created under license from Middle-earth Enterprises (the owner of exclusive worldwide motion picture and stage rights for The Lord of the Rings), this adventure through the epic realm of Middle-earth has been beloved by generations of readers.
With book and lyrics by Shaun McKenna (Maddie, La Cava) and Matthew Warchus (Groundhog Day) and original music by Academy Award winner A.R. Rahman (Bombay Dreams, Slumdog Millionaire), Finnish folk band Värttinä, and Tony Award winner Christopher Nightingale (Matilda the Musical), this theatrical event celebrates community, courage and camaraderie to create an unforgettable experience for longtime fans and newcomers alike. “Tolkien would have been so proud” (WhatsOnStage).
‘The greatest show on Middle-earth comes home to Middle-earth!” proclaimed Fredrica Drotos, Middle-earth Enterprises’ Steward Brand & Licensing. “We are very much looking forward to sharing the Hobbits’ epic re-telling with all our friends there; when The Lord of the Rings – A Musical Tale, premieres in Auckland, New Zealand this November.’
As the Hobbits celebrate Bilbo Baggins’ eleventy-first birthday in the Shire, he gifts his nephew Frodo his most precious belonging – a gold ring. This fateful moment launches Frodo on a legendary and perilous quest across Middle-earth to the darkest realms of Mordor, to vanquish evil with his loyal Fellowship. The dynamic folk-inspired score is performed live by the company on stage, weaving together original music with storytelling. The New Zealand premiere comes fresh off the 70th anniversary of the publication of The Fellowship of the Ring, the first book in The Lord of the Rings trilogy which debuted in 1954.
“We are delighted to share Director Paul Hart’s imagining of The Lord of the Rings on stage with New Zealand audiences before it embarks on its journey to entertain audiences around the world.” said Kevin Wallace on behalf of the producers. “This production that originated in the English Shires, before its US Premiere in Chicago, comes to Auckland where we invite New Zealand to join us for Bilbo Baggins’ Long- expected Party.”
Annie Dundas, Director Destination at Tātaki Auckland Unlimited adds “We are thrilled to welcome The Lord of the Rings – A Musical Tale to Tāmaki Makaurau Auckland. This production not only celebrates our unique connection to Middle-earth but also showcases Auckland as a vibrant hub for world-class theatre. We look forward to sharing this extraordinary experience with locals and visitors alike.”
Glen Crighton, Acting Director Performing Arts at Auckland Live continues. “I’m excited that The Civic will be hosting the Australasian premiere of The Lord of the Rings – A Musical Tale. The iconic status of Tolkien’s epic tale can’t be understated, and we look forward to welcoming local and international audiences alike into Tāmaki Makaurau Auckland’s own iconic venue to embark on what promises to be a remarkable theatrical experience.”
The Lord of the Rings – A Musical Tale is presented in Auckland by Kevin Wallace Productions, GWB Entertainment and Middle-earth Enterprises, in association with Tim McFarlane and People Entertainment Group. The Lord of the Rings – A Musical Tale is produced in partnership with The Watermill Theatre and Chicago Shakespeare Theater. The Auckland season of the production is made possible by Auckland Council and the city centre targeted rate, and with support from Auckland Live.
THE LORD OF THE RINGS – A MUSICAL TALE STRICTLY LIMITED SEASON AT THE CIVIC, AUCKLAND FROM NOVEMBER 5TH.
WAITLIST OPEN NOW AT LOTRONSTAGE.COM Based upon the Books by J.R.R. Tolkien.
Written and produced under license from Middle-earth Enterprises, LLC (MEE).
You can read TORn staffer greendragon’s review from the production at The Watermill Theatre last year, here. If you’re going to see it in Chicago, let us know what you think; or maybe you can make a trip to New Zealand to experience the magic there?
