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4 October 2023
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4****
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So, I will admit, I have never been able to get through the whole of The Lord of the Rings – the book or all three of Peter Jackson’s films. I do have a passing knowledge of the plot though, which I hoped would be of use before seeing the three hour stage musical.
When first produced in London in 2007 with a massive budget (and at the 2100+ seater Theatre Royal Drury Lane) it closed after 13 months, but lost quite a sum of money. This new production at The Watermill Theatre has slimmed down the excesses and crafted it to fit the rural location for which it is admirably suited.
The idyllic outdoor setting of the opening scenes creates a most magical atmosphere – so much so that it is almost a disappointment to have to go inside the theatre after only a few minutes. The stage in the Watermill is very small and there is an almost claustrophobic feeling about the auditorium compared with the outdoor arena.
Over recent years, the theatre has become well known for actor-musician lead productions, where the actors combine, not just to act and sing, but also to provide the musical accompaniment as well. This is something I have seen a number of times, and it either works or doesn’t – in this case it works a treat. The huge variety of instruments is proof positive that we are dealing with a very talented group of performers.
The book by Shaun McKenna and Matthew Warchus is a huge achievement; distilling the enormous and complex narrative takes some doing and the main thrust of the story largely comes to the fore. The music by A.R. Rahman, Värtinnä and Christopher Nightingale is a complex mix of various folk traditions and elements of sub-continental flavours. It is easy and interesting to listen to and performed with vigour and tenderness. Likewise the choreography of Anjali Mehra pulls on some of her South Asian heritage to create dance which feels fresh and original.
With such a complex narrative which flits from one otherworldly location to another, lighting and projections play a huge role in making the unbelievable, believable and the work of Rory Beaton and George Reeve is exemplary; the basic set is unfussy and representative, but provides the ideal backdrop to the proceedings. The various fight sequences are performed in a stylised fashion and are also made effective by the use of the lighting. The puppet designs – specifically the dark riders and the gigantic spider are also well considered and mightily impressive – and scary!
The very first incarnation of this show in Toronto was 30 minutes longer and had a cast of 65 – here with just 20 the show works admirably well. Louis Maskell is strong, yet vulnerable as Frodo who takes on the adventure set by the hugely likeable Bilbo of John O’Mahony. Nuwan Hugh Perera steals everyone’s hearts – and the show – as the wonderful warm-hearted and brave Sam. Geraint Downing and Amelia Gabriel are ideal fun companions to make up the exploring quartet. Though he has the stature, Patrick Bridgman’s Gandalf seemed to lack the authority I would expect him to have. Strong support comes in the form of Folarin Akinmade (Gimli), Yazdan Qafouri (Legolas), Aaron Sidwell (Aragorn), Georgia Louise (Galadriel) and Peter Dukes (Boromir). Matthew Bugg’s Gollom, though is sensational; his voice changes and acrobatic movement are just what the audience want.
Director Paul Hart has created a show which moves swiftly and is probably as lucid as you could get in the length of show offered. There is magic and wonder and threat and fun. In the simplest of terms the story is about good and evil and friendship and family and adventure and in this sense, the mission is accomplished. The missing element for me was emotion; not in terms of the performers and the story – that much was made obvious by the conclusion of the story back outside (a move which though lovely, broke the ‘magic’ as we all bustled from the auditorium with just five minutes to go) – but throughout it didn’t transmit the depth of feeling I was looking for. Maybe the distillation of too much story into too short a time doesn’t help. I wanted to ‘feel’ but didn’t.
Testament to the treatment of the show, it has sold out many performances and the final few weeks of a 12 week run have been completely packed. This production demonstrates just what can be achieved with foresight and talent in order to breathe life into a show which many might not touch with a barge pole; but you need a gathering of great talent which this most certainly has. An epic story doesn’t need a huge canvas on which to tell its tale.
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Cast and Creatives
Folarin Akinmade – Gimli
Patrick Bridgman – Gandalf
Matthew Bugg – Gollum
Reece Causton – Ensemble
Kelly Coughlin – Ensemble
Geraint Downing – Merry
Peter Dukes – Boromir/Treebeard
Amelia Gabriel – Pippin
Tom Giles – Saruman/Elrond
Charlotte Grayson – Rosie
Nuwan Hugh Perera – Sam
Bridget Lappin – Ensemble
Georgia Louise – Galadriel
Elliot Mackenzie – Ensemble
Louis Maskell – Frodo
Aoife O’Dea – Arwen
John O’Mahoney – Bilbo
Yazdan Qafouri – Legolas
Sioned Saunders – Ensemble
Aaron Sidwell – Aragorn
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Book & Lyrics – Shaun McKenna & Matthew Warchus
Music – A R Rahman, Värtinnä and Christopher Nightingale
Director – Paul Hart
Designer – Simon Kenny
Choreographer – Anjali Mehra
Lighting Design – Rory Beaton
Sound Design – Adam Fisher
Projection Design – George Reeve
Puppet Designer – Charlie Tymms
Image – Pamela Raith
