As director Paul Hart’s revival of The Lord of the Rings musical unfolds in the beautiful gardens of Berkshire’s riverside theater, the staff anxiously monitored weather apps, reminiscent of cricket players anxiously checking the forecast on the last afternoon of a crucial match. There was a legitimate concern that, contrary to JRR Tolkien’s trilogy, the battle for Middle-earth may end in a rain-affected draw, just like a cricket match interrupted by rain.
However, resembling the previous day’s cricket match at the Oval, the meteorological apps proved to be overly pessimistic, and the play began and ended almost precisely on schedule, under clear skies, albeit with a brief delay caused by a low-flying helicopter. Speculation among the audience even joked that it might be Rishi Sunak returning home, much to the potential dismay of government press officers.
Originally staged in 2007 at London’s Theatre Royal Drury Lane, which seats 1,996 people, the show has been revived at the 220-capacity Watermill Theater. This means that the set design by Simon Kenny and choreography by Anjali Mehra must accommodate a significantly smaller space, akin to fitting as many people as possible into a Mini car.
The creativity of the production team involved in this revival is truly noteworthy and could earn them a place in the Guinness Book of Theatrical Records. Despite the small theater, they manage to incorporate large-scale battles, orc attacks, epic journeys across lands, mountains, and caves, as well as lavish production numbers involving 20 actors and musicians, with some cast members even playing instruments.
Similar to the current musical adaptation of The Third Man at London’s Menier Theater, there are moments when the dialogue and score seem to compete rather than complement each other. While Stephen Sondheim suggested that characters should start singing when they can no longer speak, here they often quiet down to belt out their songs. The eclectic songs themselves traverse various genres, including folk, Bollywood, and pop, embodying the diverse musical backgrounds of the Indian, Finnish, and Anglo-American composing team consisting of AR Rahman, Värttinä, and Christopher Nightingale.
The dialogue and lyrics by Matthew Warchus and Shaun McKenna strike a tonal balance between Wagner’s Ring Cycle and the fantastical world of Harry Potter. Tolkien’s tale of a group of young adventurers on a quest for a supernatural piece of jewelry resonates strongly, particularly with references to the destructive forces of greed and war, which hold greater significance in today’s world than during the original premiere. With a running time of three hours, the adaptation takes risks by omitting certain elements from the books that may irk die-hard Tolkien fans while potentially disappointing those who are less enthusiastic about The Hobbit with its inclusion of specific storylines.
However, the cast shines brilliantly. Louis Maskell’s portrayal of Frodo captures the undeniable burden of destiny, reminiscent of the numerous Christ-like figures in children’s literature. Nuwan Hugh Perera as Sam and Georgia Louise as Galadriel bring both charm and beautiful voices to their respective roles. Matthew Bugg’s Gollum, with his remarkable contortions and vocal prowess, makes a compelling case for the power of live performances by Equity members compared to computer-generated imagery (CGI). Peter Marinker’s portrayal of Gandalf faces the challenge of living up to Ian McKellen’s iconic movie performance but manages to carve out a distinctive interpretation.
The original London run of the musical was notorious for its financial losses, but this scaled-down production, with a stage nearly 30 times smaller and presumably a reduced budget, proves that sometimes aiming small can reap big rewards.
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