On opening night of the Australian premiere of The Lord of the Rings – A Musical Tale, the State Theatre stalls were alive with Hobbits. Greeting and chatting with the arriving audience, they were running along aisles and breaking into song. The impression was one of a large party to which everyone was invited. As adapted by Shaun McKenna and Matthew Warchus from the books by J.R.R. Tolkien, this was indeed the intention – to create a more intimate and tighter show than the original 2006 production, told from the Hobbits’ perspective.
It’s a mammoth task to tell that story in three hours across two acts, and being familiar with the plot certainly has advantages. There was some quite heavy exposition, most of which fell to Terence Crawford as Gandalf, bravely delivered. Come for the spectacle though because that is very good.
“The production nailed its brief – the importance of friendships and music that sustain us. Go see it.”
For those unfamiliar with the plot, after giving his nephew Frodo (Rarmian Newton) his precious gold ring on his eleventy-first (111th) birthday, Bilbo Baggins (Laurence Coy) disappears in a theatrical puff of smoke. Seventeen years later, Gandalf‘s arrival precipitates a journey of epic proportions as Frodo and his friend Sam (Wern Mak) and cousins Merry (Jeremi Campese) and Pippin (Hannah Buckley) set off to save Middle Earth by destroying the gold ring in the fires of Mount Doom.
Informed by Tolkien’s own World War I experience, the Hobbits confront lust and greed, learn about the nature of power and the courage required to face sacrifices that are made in a battle between good and evil. Most importantly, they learn the value of friendship.
As the title alludes, this production emphasised the centrality of music to Tolkien’s story and did so to great effect. A large, multiskilled ensemble filled the State Theatre stage with energy, song and thoughtfully choreographed dance sequences by Anjali Mehra. This very talented group was constantly present, a talismanic reminder to the Hobbits of home. While playing their individual roles, some of the main actors also doubled in the ensemble, often with instruments, theatrically underpinning the theme of community and friendship.
“Rarmian Newton as Frodo Baggins brought sincerity and a truly dynamic stage presence to the production.“
The State is a big space to fill, constantly threatening the musical’s desired intimacy. Direction by Paul Hart and his team made the most of the opportunity, providing a terrifically immersive experience for the audience. Notably, the imaginative use of puppetry, designed by Charlie Tymms, lighting by Rory Beaton and projection by George Reeve escaped the confines of the stage, washing over the audience. The Flight to the Ford scene memorably placed the audience at the heart of the action as spot-lit Hobbits fled across the theatre rows, chased by life-size apocalyptic horse-headed Nazgûl puppets.
Puppets are inherently scary, though perhaps not so much the spider, Shelob, which elicited a few laughs. (‘It’s behind you, Frodo!’) But, coupled with an otherworldly soundscape by Adam Fisher – the use of a didgeridoo during the encounter with Ents was a great choice; the screeching of Nazgûl Riders was unnerving, and the big set-pieces were quite thrilling.
The fight scenes were dramatically effective, using lighting effects and well-choreographed movement. The second battle scene would have benefited from new elements, being mostly a reprise of the first, replete with orcs. Dressed in camo gear and masks, the orcs were almost like a cross between the winged monkeys from The Wizard of Oz and the Teenage Mutant Ninja Turtles.
Costuming was fitting, Legolas’s distractingly baggy tights notwithstanding, but the decision to dress Jemma Rix, playing Galadriel, in a rather modern gold pantsuit negated some of her character’s mystique. Rix’s voice, however, was sublime.
As Arwen, Stefanie Caccamo’s wonderfully melodic voice was a joy in both her solo, ‘The Song of Hope,’ and the duet version alongside Rob Mallett. Mallett also brought a muscularity to his role as Strider.
Almost stealing the show, Laurence Boxhall was sinuously slippery as Gollum, delivering menace and pathos in a stand-out athletic performance.
But the star of the production was, without doubt, Helpmann Award-winner Rarmian Newton. As Frodo Baggins, Newton brought sincerity and a truly dynamic stage presence to the production. Appearing in nearly every scene, his acting, singing and dancing were worthy of his lead role status.
So, quite the tumultuous journey. Yet, possibly the best scene of the night was quite the opposite. The show’s standout song, ‘Now and For Always,’ performed as a duet between Sam and Frodo, was a touchingly quiet moment amidst the chaos. With a musical ensemble in shadow providing emotional support, it realised a real cathartic poignancy. You could hear a pin, or a tear, drop. Here, The Lord of the Rings – A Musical Tale nailed its brief – the importance of the friendships and music that sustain us. Go see it.
The Lord of the Rings – A Musical Tale is on at State Theatre, Sydney for four weeks until 1st February.
The tour continues to Perth from 19 March, Melbourne from 26 April and the Gold Coast from 4 July.
Tickets: via Ticketmaster
Website: https://lotronstage.com/
Socials: https://www.instagram.com/lotronstage/
Visit our TikTok page for live videos of the night.
Photo credits Daniel Boud
