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I saw The Lord of the Rings: A Musical Tale on stage! Is it worth checking out?

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I saw The Lord of the Rings: A Musical Tale on stage! Is it worth checking out?

As a lifelong fan of J.R.R. Tolkien’s epic masterpiece, I must admit that my excitement for “The Lord of the Rings: A Musical Tale” was palpable. Having grown up with the books and movies, I eagerly anticipated seeing this new interpretation of Middle-earth on stage.

For almost a century, J.R.R. Tolkien’s “The Lord of the Rings” books have been cherished. Peter Jackson’s film versions continue to be popular today. Currently, Amazon Prime Video is debuting the second season of its prequel series, “The Rings of Power,” based on “The Lord of the Rings.” Perhaps a stage musical could also be included in this collection?

Way ahead of you. The Lord of the Rings: A Musical Tale has music by A. R. Rahman, Värttinä and Christopher Nightingale, with book and lyrics by Shaun McKenna and Matthew Warchus. A version of the show premiered in London way back in 2007, so it’s been around for awhile. It was revived recently and just ended a run at the Chicago Shakespeare Theater. As it happens, I live in Chicago and couldn’t pass up the opportunity to see it. It’s going abroad soon, so you may get a chance to see it too.

But should you? Read my impressions below.

The Lord of the Rings: A Musical Tale review

One thing I liked about The Lord of the Rings musical is that it’s a Lord of the Rings musical. I went into a theater, a bunch of actors dressed like Hobbits and elves and dwarves sang and danced in front of me for a while, and then I left. I’ve been familiar with these characters and events for most of my life, so to see them brought to life in a new way was fun and novel, especially if you’re a fan of stage musicals like me.

In a different setting, other theaters might present this play in unique ways, but I found it refreshing that Chicago Shakespeare Theater chose a faithful adaptation. Instead of imagining “The Lord of the Rings” as a World War III narrative or similar transformations, they kept the setting medieval and true to the original story. Characters like elves spoke their native language, fought with swords, and rode horses. The music complemented the familiar tale rather than significantly altering it.

To be frank, labeling it as a full-fledged musical might not quite capture its essence. Unlike shows like “Les Misérables” where characters are constantly singing, this production is more conversational, similar to a traditional play, with music intermittently added. However, when the music does come in, it’s usually organically woven into the storyline, such as a lively jig performed by the entire cast in the Prancing Pony. Moreover, the tunes don’t resemble contemporary pop songs transplanted into “The Lord of the Rings.” Instead, they have an ancient ambiance, reminiscent of songs sung around a 10th-century London hearth. It all seems quite fitting.

To put it simply, most characters felt true to their original portrayals, but there were a few instances that seemed out of place. The first major issue I encountered was during the group’s arrival at Lothlórien, where Galadriel’s power ballad felt like it belonged in a Disney princess movie rather than Middle Earth. While actress Lauren Zakrin had an impressive singing voice, her portrayal of Galadriel lacked the essence of an ancient, powerful being with a significant destiny. Instead, she resembled Elsa from Frozen, which didn’t seem fitting for The Lord of the Rings. Similarly, the Aragorn-Arwen love theme felt like every other melodramatic love theme from Broadway shows.

As a dedicated gamer immersed in the world of musicals, the melody that’s been echoing in my mind since witnessing this performance is a heartfelt ballad titled “Now and for Always,” sung by the hobbits, Frodo and Sam, as they approach Mordor. While they mused about how their tale might be remembered, Gollum watched sorrowfully from the darkness. This song stands out as it resonates powerfully on its own and serves as a pivotal moment in the story. It breathes life into a memorable scene from Tolkien’s books that transcends the written page, offering an experience distinct from the films. Indeed, it was this captivating performance that left the highest impression on me during the play.

Why haven’t you heard of The Lord of the Rings musical?

I’d prefer if there were more instances akin to “Now and for Always” scattered throughout, as these moments enrich the narrative instead of merely checking off items on a list. Although Act 1 of this musical covers most significant aspects from The Fellowship of the Ring, it does so in a rather routine manner, as if it’s hastily ticking off each point from a list. This is due to the challenge of condensing such an expansive story into a limited runtime; the musical clocks in at around three hours long, while the movies span approximately three times that length. If I were unfamiliar with The Lord of the Rings, I’d struggle to keep up with the rapidly accumulating twists, turns, characters, and lore.

As someone who’s deeply immersed in the gaming world, let me share my take on The Lord of the Rings play I recently attended. It was evident that many fellow fans had donned their costumes, making the atmosphere electric, but as we progressed into Act 2, which amalgamated The Two Towers and The Return of the King, it became clear that condensing those epic novels into an hour and a half was no easy feat.

It seems to me that the rapid pace and significant cuts made in “The Lord of the Rings: A Musical Tale” might be hindering its potential to become a massive global hit like the books and films. The play moves so swiftly that only die-hard fans can fully grasp it, but it also trims so much that those same fans will likely be disillusioned. To distinguish itself, I believe the production could either reimagine the material, transforming “The Lord of the Rings” into a tale that fits neatly within a three-hour timeframe; or present the entire story across two performances. This approach is not uncommon – Shakespeare wrote two plays about Henry IV, “Angels in America” spans over two performances, and “Harry Potter and the Cursed Child” is a two-play production. Given its size and popularity, I believe “The Lord of the Rings” could benefit from such treatment.

Many Partings

To wrap up, I’d like to commend some of the performers and discuss the overall production quality, which may vary from one performance to another. While I felt not all cast members were spot-on in their roles, everyone delivered admirably. Spencer Davis Milford was exceptional as Frodo, displaying an ideal chemistry with Michael Kurowski’s Sam. Tony Bozzuto stood out with his remarkable physical portrayal of Golllum, showcasing his talent by crawling around on the ground and singing while suspended from ladders. However, I found it disappointing that his Golllum voice was a direct copy of the one used in the Peter Jackson films. Despite his ability to sing with the distinctive Andy Serkis growl, it was too close to the original that there wasn’t an opportunity for Bozzuto to infuse his own style into it. I found myself comparing it to the movies rather than this production.

As a gamer, I’ve got to say the game was visually stunning overall, but there were some hit-or-miss moments when it came to the grand battle sequences. However, nothing could top Frodo and Sam’s intense encounter with the colossal spider Shelob, which was simply breathtaking due to some fantastic puppetry work. Conversely, Gandalf’s confrontation with the Balrog felt a bit abstract and confusing, lacking the clarity of what exactly was happening. Merry and Pippin’s interaction with Treebeard was somewhat underwhelming; it seemed like they were awestruck gazing at something off-screen while the booming voice of John Lithgow echoed throughout the theater.

During the performance, there was plenty of dancing scattered throughout. Much of it was well-executed and fitting for the occasion, but some sections seemed excessively choreographed. It’s not necessary for everyone to be moving their hands in circles all the time. Moreover, it felt a bit peculiar watching Saruman perform jerky, industrial dance moves with a group of Uruk-hai.

The performance of “The Lord of the Rings: A Musical Journey” at Chicago Shakespeare Theater has concluded, but the production is traveling globally; you can discover its locations here. I enjoyed my time there, though I must admit it does have certain boundaries. However, if you’re a fan of “Lord of the Rings” seeking a fresh take on the story, this performance is certainly worth considering.

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2024-09-02 17:43

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