The Lord Of The Rings: A Musical Tale

The musical is an experience from start to finish, stretching over three hours not including the twenty-minute intermission. I recommend arriving well-prepared, having eaten, secured a drink, and attended to restrooms prior to Act One, which lasts 95 minutes.

The production maintains an unrelenting pace, with a continuous flow of action that transitions from one climactic moment to the next. As someone who has seen the films years ago but has never read the books, I found certain plot points difficult to follow, as the narrative seemed to leap between events. However, I suspect that dedicated LOTR enthusiasts would find the storyline entirely coherent.

The size of the cast was impressive for a touring production; I counted 24 Hobbits pre-show, though I was informed there are 25 in total along with up to 5 swings/understudies.

As the performance unfolded, I was struck not only by the cast's talent but also by their versatility. Each performer demonstrated the ability to sing, dance, act, and execute fight choreography while playing multiple musical instruments live on stage and from memory. This cast comprised exceptionally skilled actor-musicians, notably, Ben Mathew’s Pippin, manoeuvring a cello throughout, was remarkable.  Also, I have to mention the tremendous tightness of the musical ensemble, especially as they were spread across the stage and on different levels whilst often being unable to be in view of the other players.

The musical score was notably complex. Unlike many musicals that rely on repetitive motifs, this production introduced new musical themes as characters and plot twists emerged. While this approach effectively advanced the narrative, it resulted in a lack of particularly memorable songs or motifs.

Standout performances included Spencer Davis Milford as Frodo Baggins and Michael Kurowski as Samwise Gamgee. Their dynamic was a pleasure to observe, particularly in Act Two during their poignant duet, “Now and for Always”. Additionally, Tony Bozzuto's portrayal of Gollum was exceptional, showcasing his athleticism and physicality, seamlessly transitioning between Smeagol and Gollum while navigating the stage. Gollum's characterization felt the most reminiscent of the films, likely due to the vocal portrayal closely mirroring that of the movie.

The evening's highlight was undoubtedly the technical execution. The set, designed by Simon Kenny, appeared deceptively simple yet authentically captured the essence of Middle-earth and the Shire, characterized by an earthy colour palette and wooden finishes. Throughout the performance, this seemingly straightforward backdrop was transformed by innovative lighting and projections, taking the audience on a journey through forests, over mountains, into tunnels, under the earth and ultimately to the heart of Mordor.

The puppetry and visual effects were noteworthy, particularly the portrayal of the dark riders, which were both impressive and genuinely unnerving. However, I found the Orcs' costuming disappointing; they resembled more of a gangster rap aesthetic than the fearsome, mystical creatures of darkness one might expect.

Overall, I felt somewhat let down by the costuming design, which did not match the grandeur of the production as a whole.
So as a piece it is not without its flaws, but it is an epic adventure!

Lord of the Rings: A Musical Tale runs at Auckland’s Civic Theatre until December 1.

Australian seasons follow in Sydney from 7 January 2025, Perth from 19 March, Melbourne from 26 April and Gold Coast from 4 July.

Emma Bishop

Photographer: Liz Lauren.