Like West Side Story and the upcoming cinema release of Wicked, we’re far more accustomed to the entertainment industry turning theatrical productions into movies rather than the other way around. It’s even more unusual to see an epic fantasy adventure transformed into a musical. That effort was attempted in 2006 when promoters mounted an ambitious stage adaptation of The Lord of Rings at the Princess of Wales Theatre in Toronto. Although it was not particularly well received by critics or the box office, the concept lived on and last year the esteemed Watermill Theatre in Berkshire, England introduced a much more contained and self-sustaining version of the project. This time around, The Lord of the Rings, a Musical Tale had audiences and critics raving. It’s this wonderfully re-conceived production that launched its US premiere at Chicago Shakespeare Theater over the weekend.
If there’s one element that best captures the essence of this splendid piece of theater it would be its clarity. J.R.R. Tolkien began writing his composite masterpiece in 1937 with The Hobbit and went on to complete the Rings trilogy in 1949. Since then millions have devoured his books and immersed themselves in the movies they spawned. Still, not everyone is familiar with the Middle-earth, the comforting security of the Shire and Frodo Baggins amazing adventure.
From the beginning and all through to the nail-biting end 2 hours and 45 minutes later (with one intermission), a stranger to this classic epic could easily follow the purpose and consequences of Frodo’s fateful odyssey. Maintaining that cohesion and clarity was a key objective of director, Paul Hart. From the brilliance of Tolkien’s foundational storyline, Hart and his creative team included all forms of supporting magic to insure audience’s easily absorbed the fullness of this heroic tale.
Once you experience it, you can’t imagine not making music and song central components of Tolkien’s legendary narrative. They add a depth and richness to both the action and to the story’s characters that transcend the capabilities of dialog alone. Shaun McKenna and Matthew Warchus not only wrote the musical’s book, they also composed its lyrics; ensuring an exquisite synergistic flow between dialog and song. A.R Rahman, Värttinä and Christopher Nightingale composed its music. All creative behemoths, their score plumes every emotion of the heart and seemed to draw inspiration from all four corners of the globe to add weight and truth to this version of Tolkien’s epic. To further enmesh music into the fabric of the production, the actors themselves did double duty by serving as the play’s musicians; dispensing with the added bulk of an orchestra and adding an unexpected element of period authenticity.
Inviting the audience more fully into the story by shrewdly erasing the boundary separating them from the stage was an important and effective feature of this Lord of the Rings. Actors in medieval costume could be spotted standing or moving throughout the house as the audience began filling their seats. The ploy peaked interest and curiosity and would be a harbinger of things to come when the play’s action was periodically pushed, ever so strategically, into the theater. One of the more thrilling of those occurrences took place when the play’s version of Orcs on horseback rode menacingly through the audience in search of Shire prey.
But well before that, we needed an introduction to the characters and understand what launched Frodo (Spencer Davis Milford) on his grand and treacherous endeavor. That was accomplished at the opening with a warm birthday celebration for Bilbo Baggins (Rick Hall), Frodo’s uncle. Along with Frodo, the people of the Shire, most of them in attendance at the festivities, are innocent people with big hearts and a deep-felt appreciation for life’s uncomplicated pleasures like good food and good company. Those qualities are immediately communicated and felt. Soon after, Bilbo shares his secret with his nephew about an invisibility ring he possesses. Not only does he provide clues to its devastating powers, he also tasks Frodo with destroying it. Together, with a trio of steadfast friends, and under council of a wise wizard, Gandalf (Tom Amandes), they embark to complete their mission.
As those familiar with the trilogy are well aware, the quest takes them through the lands of elves and dwarfs where they gather allies to join them in their common effort to preserve their ways of life.
This imagining of their adventure emphasizes the importance of relationships between individuals and peoples of different cultures. In the format employed here, that message comes through with much more intensity; and more satisfyingly, than in the story’s cinematic counterpart. Particularly gratifying was watching how well the bond between Frodo, Sam (Michael Kurowski), Pippin (Ben Mathew) and Merry (Eileen Doan) held and tightened throughout their harrowing trek to Mordor. Made up of primarily Chicago actors, the performances uniformly soared; filling the experience with the type of connection and understanding any audience would relish. Subplots like the burgeoning love affair between someone whose cycle of life is limited and an immortal was particularly striking. Not only was it extremely effective because of the way it was portrayed, but the love duet between Aragorn (Will James, Jr.) and Arwen (Alina Taber) was a standout for its message, intensity and quality. Quite a statement for an evening overflowing with stellar song.
Thanks to George Reeve’s jaw dropping projection design, Rory Beaton’s spectacular lighting, and the crew (Charlie Tymms and Lindsey Noel Whiting) who designed and directed the show’s array of fearsome puppets, visceral delights abounded. Every iota of the menace and dread poured into the film version of the Rings was present here; which counts as an impressive display of theatrical production aptitude.
But it was in the second act, when Gollum (Tony Bozzuto) made his entrance slithering quickly down a rope hanging from the rafters deep inside the audience space, that the air begin to sizzle with ominous apprehension. Only then, when he confronted Frodo and Sam, did you realize the true power of the ring to distort will. With cunning and malice seeping from his pores, Bozzuto made a formidable Gollum. Intentionally raspy, his speech may have been difficult to decipher; but there was never a doubt about the profundity of his threat. Making him the perfect prelude to a dramatic climax.
The United Kingdom appears to be a place where a lot of astonishing live entertainment is conceived and comes to life. The Lord of the Rings, a Musical Tale counts as one stellar example well worth experiencing.
The Lord of the Rings, a Musical Tale
Through September 1, 2024
Chicago Shakespeare Theatre
800 E. Grand St./Navy Pier
Chicago, IL 60611
https://www.chicagoshakes.com/productions/the-lord-of-the-rings/