Here at TheOneRing.net we have a tradition of enjoying April Fools Day with some merriment. We hope you enjoyed our jokes today.
You’ll be glad to know that AI will not be creating more “Tolkien” works, nor updating the Professor’s language; at least, TORn is not aware of any such plan – yet…
Not today, Morgoth…
Alas, the more pleasant news of a Silmarillion stage show was also a joke. The Lord of the Rings – A Musical Tale IS a fabulous show (and is touring in Australia; it returns to the UK later this year). We heartily recommend seeing it if you can! AND composer Paul Corfield Godfrey HAS released recordings of his operas based on The Hobbit, The Lord of the Rings and The Silmarillion; check them out here.
We should also note that TORn’s good friends are in fact producer Kevin Wallace (not Walrus) and Middle-earth Enterprises’ Fredrica Drotos (not Doritos); thanks to them for being great sports. And we still think the wonderful Donato Giancola could create amazing sets. Maybe we’ll get a Silmarillion stage show one day. (Staffer greendragon would like to volunteer to direct it…)
We now resume our regular programming. Don’t forget to vote in Middle-earth March Madness; Final Four launches TONIGHT!
Breaking news: rights to bring The Silmarillion to life have finally been released, but it’s not to any of the media giants you might have expected.
Ever since Prime Video started work on The Lord of the Rings: The Rings of Power, there has been much speculation and anticipation as to whether the Tolkien Estate would finally sell the rights to bring The Silmarillion stories to life. In an exclusive reveal, our friends at Middle-earth Enterprises have told us that it looks like that will happen now; but it is the folks behind The Lord of the Rings – A Musical Tale who have gained the long sought-after permission.
The recent revival of the musical, which features music by A.R. Rahman, Värttinä, and Christopher Nightingale, with book and lyrics by Shaun McKenna and Matthew Warchus, has proved such a hit that it seems to have persuaded the Tolkien Estate that more live Middle-earth on stage could only be a good thing. The latest musical production began at The Watermill Theatre in the UK, in 2023; it has since played in Chicago, Auckland, and is currently touring in Australia, to great acclaim.
In addition, composer Paul Corfield Godfrey has in recent years been given permission by the Estate to release recordings of his operas based on The Hobbit, The Lord of the Rings and The Silmarillion. This indicated to some that there was a move towards allowing more performance work based on the Professor’s writings; but this most recent announcement will nonetheless no doubt take folks by surprise.
Kip Rasmussen’s Eru and the Gods singing the First Song of Creation
What we’ve been told
The same composition and libretto team who brought us The Lord of the Rings – A Musical Tale will now be creating The Silmarillion – An Adventure Three Ages in the Making (working title). It is as yet unconfirmed who the stage director and design team will be for this epic show, but we do know that producer Kevin Walrus is on board. He expressed his excitement to us, and hinted at the possibility for a series of shows:
We are thrilled to build on the global momentum that we’ve already seen in our world tour of The Lord of the Rings – A Musical Tale production, with this expanded opportunity to play in the realms that Professor Tolkien created. Our first task will be to decide how many shows these new landscapes allow us to produce!
Rumour is that the production will open in New Zealand, sometime in late 2027. Middle-earth Enterprises’ Fredrica Doritos told us:
We know that the epic stories of the early ages of Middle-earth, found in The Silmarillion, are beloved by fans. The great drama, romance, peril and poetry of these tales makes them perfect for the stage; and the track record of the team who created The Lord of the Rings – A Musical Tale means that we know these sagas are in safe hands. We can’t wait to see Eru Ilúvatar and Manwë brought to life on stage. What song of Lúthien Tinúviel was powerful enough to lull Morgoth to sleep? Perhaps we’ll hear such a song in this stage show. We hope the fans will be as excited as we are, to see Fëanor forge his gems on stage.
We’ve also heard that artists already known for their Tolkien-inspired paintings may be brought in to be part of the design team. Could some of the folks whose masterpieces we’ve been enjoying in Middle-earth March Madness be part of these future shows? Certainly TORn friend Donato Giancola would make epic scenery designs; and Kip Rasmussen’s ‘Eru and the Gods singing the First Song of Creation’ would make a wonderful show poster.
Donato Giancola’s Beren and Lúthien in the Court of Thingol and Melian
We here at TheOneRing.net are very excited by the news of this forthcoming stage production (or productions!), and staffers have started speculating as to exactly which stories will appear on ‘the boards’. Look for more content to explore our thoughts; and of course we’ll bring you updates as we receive them.
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.
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?
