The “power” of Sydney’s new ‘The Lord of the Rings’ musical lies in its themes

When J.R.R Tolkien’s iconic book trilogy was adapted for the big screen with 2001’s Fellowship of the Ring, the Lord of the Rings represented a seismic shift for pop culture. Having such an epic fantasy perfectly pocketed across two different mediums created legions of fans and stamped the LOTR trilogy as one of the most popular properties of all time.

A third medium was added to that picture in 2006. The Lord of the Rings—A Musical Tale reimagined the complicated story for the greatest stage of them all, bringing in world-class performers, incredible costumes and puppetry, and an original soundtrack to illustrate the story of dutiful hobbits, magical rings and destructive evil forces.

After acclaimed runs in Toronto, London and Chicago, The Lord of the Rings—A Musical Tale has now made its Australian debut at Sydney’s State Theatre, where it will remain until February 1 across a strictly limited season. And it’s perfectly timed to capitalise on Sydney’s love of nostalgia when it comes to our biggest states.

We already have Six the Musical and Jesus Christ Superstar running through encore seasons, alongside Hamilton and smash-hit Titanique. Adding The Lord of the Rings to Sydney’s stages right marks a year of big-name stage productions coming to Sydney.

What to expect from The Lord of the Rings—A Musical Tale

So what can you expect from the LOTR musical, which wraps up on February 1?

Well, hard work. That’s for sure.

The show’s international producer, Kevin Wallace, explained just how much live work goes into the show each night when talking with the Sydney Travel Guide earlier this week.

“An ensemble of actor-musicians sing, act, operate the puppets, execute the fight sequences and play the music,” he said.

“This, and [director Paul Hart’s] concept that the story is told from the perspective of the Hobbits are two central ideas that make ‘A Musical Tale’ unique.”

Producing such a large story would come with its own difficulties. There are many perspectives via which Lord of the Rings can unfold, but choosing to stick with the Hobbits maintains the soul of film trilogy and would appeal most long-time LOTR fans.

As Wallace says, “Tolkien’s trilogy of books has been passed down through generations, in book form as well as in film and on TV, and are very much part of contemporary culture.”

Man vs Nature: the theme that powers Lord of the Rings

“It is the universal power of themes of Tolkien’s story that keep it immediate for generation after generation,” Wallace remarks.

And that really gets at the timelessness of the story. The best musicals are always based on timeless stories, anchored by universal themes that aren’t discarded by the sands of time and apply across generations.

“The power of an individual selflessly acting for the sake of a community to make a positive difference and the important of balancing our interests with the natural world… if we manage to live in harmony with nature rather than bending it to our own agenda, we benefit far more as a species.”

Therein lies the undeniable relevancy of The Lord of the Rings, especially for younger minds who would better absorb these values through such an extravagant, colourful and engaging story. Throw in blockbuster puppetry and transportive costumes and you’ve got the very definition of edutainment for the little ones.

For those who have seen the show so far, the costuming is an unquestionable highlight. Wallace tells Sydney Travel Guide that the show’s production designer, Simon Kenny, was inspired by how different cultures have celebrated the natural world in their art and rituals for millenia.

“[That’s why] the set looks like it has been hued from one piece of wood, with a Celtic influence,” he continues.

“We start there and as the Hobbits move away from The Shire, the materials of the scenic elements of Simon’s design change to a more mechanised world, alien to the Hobbits, but once they must navigate if Frodo is to complete his task and destroy the Ring.”

“Currently, there is a struggle between those who want that balance on the planet and those want to bend nature to their own end. This theme is central to Tolkien’s writings.”

What was the biggest challenge behind this musical?

Apparently deciding on which perspective to take was the biggest challenge in crafting a musical of this scale. As it turns out, the best route was to stick true to the story of Frodo and Sam’s journey supported by The Fellowship. Then it became a case of supporting that journey with the major events and character of the trilogy that most influence the outcome of the adventure.

Eagle-eyed audience members will notice a few changes to the story. After all, this is a three-hour stage production which doesn’t quite have the same scope as a 558-minute film trilogy or a 1077-page, six-book epic.

Rather than telling the seperate stories of Gondor and Rohan, for example, they’ve been merged into The Lands of Men with references to both kingdoms fashioned as easter eggs to reward anyone paying close attention.

But musicals have their benefits as well.

“One of the great opportunities in translating the story for the stage is that unlike any other medium, an audience is in the same space, breathing the same air, as these iconic characters they have previously met in their imaginations when reading the trilogy or visualising on the screen.”

Adding that element of physicality to it makes the story hit in a much different way, playing out in real time without the flexibility of a book or the freedom of a film.

The Lord of the Rings—A Musical Tale plays at Sydney’s State Theatre until February 1, 2025.

The Lord of the Rings—A Musical Tale

Where: 49 Market St, Sydney NSW 2000
When: Until February 1, 2025
Price: From $69

lotronstage.com

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