It took J.R.R. Tolkien three books, 62 chapters and more than a half-million words to tell his legendary story of Frodo Baggins and the quest to save Middle Earth. Adapted for film, Peter Jackson told the same tale in just over nine and a quarter hours—not counting the DVD extras. Now it's a musical, currently playing at the Chicago Shakespeare Theatre, and despite the added singing and dancing, the saga comes in at just under three hours—a run time that I am sorry to say is simultaneously too long and too short.
The production is necessarily constrained by its three-hour time limit. The show's authors, Shaun McKenna and Matthew Marchus, have not only eliminated Tolkien's many diversions (no barrow wights... no Tom Bombadil), but also the story's heart, leaving both newcomers and die-hard fans wanting. For the Tolkien purists, the omissions are too great to overlook (Where is Rohan and its riders? Where is the titanic battle at Minas Tirith?), stripping away the rich tapestry that defines Middle Earth.
Meanwhile, those new to the story may find themselves adrift in a sea of half-told tales, non-existent character arcs and inexplicable plot developments. What remains is a sort of Cliff Notes version of the epic recited at break-neck speed, with key elements of Tolkien's story dispatched within a single sentence ("Oh no—it's a balrog!"—an actual line with no further explanation provided). The result is a sort of Tolkien shorthand, piled one on top of the other, which soon exhausts the patience of the audience.
The show's failings are no fault of the actors, who are able singers and do their best with such truncated material. Spencer Davis Milford (Frodo) and Michael Kurowski (Sam) stand at the heart of the production. Both possess pleasing tenors that harmonize beautifully in their Gaelic-tinged shared songs, and their heartfelt portrayal of the sturdy friendship that saves Middle Earth is touching.
On the opposite end of the affability scale, Tony Bozzuto's Gollum is a buff Nosferatu—an audience favorite who captures every scene he is in. Indeed, his athletic second act entrance—scaling down from the theater's rafters—is perhaps the most effective piece of theater in the entire show.
Other highlights include Will James Jr. as Strider/Aragorn, who sings with a rich bass/baritone that is more than a little reminiscent of Broadway's Brian Stokes Mitchell, and Lauren Zakrin, whose ethereal soprano beautifully evokes Galadriel elvin mystery.
But, ultimately the cast, despite their best efforts, are let down by this rickety production, directed by Paul Hart (in its U.S. premiere). For every rare bit of effective stagecraft (giant puppet spider Shelob designed by Charlie Tymms), there are too numerous misfires (a balrog portrayed by two red lights under a sheet...non-existent ents evoked by a recording of the voice of John Lithgow and a few falling leaves). The end result is a longing for the work of Julie Taymor or Chicago's own Mary Zimmerman, both of whom have done this sort of work far better.
The Lord of the Rings: a Musical Tale plays through September 1 at the Chicago Shakespeare Theater, 800 E Grand Ave. The show runs three hours, with one intermission. Tickets are available at www.chicagoshakes.com.
For more information on this and other plays, see theatreinchicago.com.
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