The Lord of the Rings: A Musical Tale has opened in Australia – and staffer Eorl the Young was there for the premiere. Here’s his review of the experience:
As reported previously on TheOneRing.net, the phenomenal production of The Lord of the Rings — A Musical Tale, that had been playing in the USA and New Zealand in 2024, finally made its debut in Australia this month.
I had the privilege of attending the Sydney premiere, and it was an unforgettable experience.
Held at the iconic State Theatre, with its ornate ceilings, art deco charm, and grand ambience, the venue felt perfectly suited for a tale as epic and timeless as Tolkien’s.
From the moment I walked up the street to the venue, it was clear this wasn’t just another night at the theatre — the excitement in the air was palpable even outside the theatre where fans queued up several hours before the show began.
Many dressed as characters from Middle-earth and were in high spirits as they milled about the entrance; Boromir, several Elves (including two Arwens), a remarkably creative “sexy Shelob”, and an Eye of Sauron, all made an appearance.
The evening started on an unexpectedly warm and interactive note.
Before the performance began, the cast embraced the audience, singing impromptu Hobbit-themed songs accompanied by various musical instruments, and playing Shire-themed games like ring toss (the hilarious symbolism dawns on me as I write this).
(a mobile phone with a selfie cam!)
When the cast were all assembled on stage, they invited everyone to join in a spirited rendition of Happy Birthday to Bilbo. We thought it was part of the pre-show fun and games, but the Happy Birthday song that we were invited to sing was in fact the beginning (and a very innovative one at that) of the musical itself, with the ending segueing perfectly into the beginning of Act I.
This playful, Hobbity opening instantly set the mood, drawing the audience into Middle-earth with a sense of camaraderie.
THE CAST
Unsurprisingly, the performances were nothing short of extraordinary, as the musical starred some of Australia’s acclaimed musical theatre performers and actor-musicians, including Jemma Rix as Galadriel, Ian Stenlake as Saruman, Rob Mallett as Strider, and Rarmian Newton as Frodo Baggins.
Bilbo (Laurence Coy) was adorable, both on and off-stage, to the point you wanted to talk with him for hours on end, and invite him to breakfast, and second breakfast, like an old friend.
while Hobbits dance the Springle-ring on stage
Gandalf (Terence Crawford) commanded the stage with a voice and presence that perfectly captured his wisdom and gravitas.
Frodo and Sam’s portrayal was heartfelt and deeply moving throughout, their friendship anchoring the emotional core of the production. They were the leads after all, and their casting was as close to perfect as one might hope to expect.
Merry and Pippin brought energy and humor throughout, providing much-needed levity in darker moments.
And Galadriel! Galadriel was a true standout. Jemma Rix’s voice was constantly powerful and haunting, her every performance resonating throughout the theatre. Her solos were an absolute highlight, commanding the room every single time with their sheer vocal power. It isn’t a stretch to presume she left the audience spellbound each time she ended with a rousing crescendo, as I noted that there was always a momentary stunned silence before the audience applauded her performance.
Aragorn and Arwen’s unexpected duets brought tender moments of longing and love (yes, they kissed!)
Boromir’s character brought intensity and humanity to his arc.
Fans will appreciate his performance knowing the fate that befalls him. That scene was a high point of the production, deeply emotional and handled with care.
After the show, the actor (Rohan Campbell) mentioned how much it meant to him to do justice to Boromir’s redemption. You could tell.
Extra special mention must go to Smeagol / Gollum, who was an absolute marvel from his first appearance until his final moment of moments. His physicality, rasping voice, and duality were all executed to perfection – yes, perfection, and perhaps beyond perfection.
This a role that will undoubtedly invite comparisons to Andy Serkis’s Gollum for an entire generation of LOTR fans, and yet the actor (Laurence Boxhall) delivered something fresh while staying true to the essence of Gollum. Chilling, silly, hilarious, menacing, pitiful… I could go on.
MUSIC AND SONGS
The musical took a bold step by introducing original songs rather than adapting Tolkien’s verses. While this might disappoint purists, the new music more than justified its inclusion.
“Forever and Always”, a poignant duet between Frodo and Sam, was my favourite. It brought a particularly memorable tone to the entire show, blending heartfelt emotion with an absolutely surprising, bone-chilling interruption from Gollum that sent shivers down my spine several times (without exaggeration). The actor is absolutely amazing in this role. This song, and the three-way performance, was one of the biggest highlights of the show for me.
Overall, the music wasn’t just functional; it added layers to the story. Each song — whether it was an intimate love ballad between Man and Elf, a melancholic duet between Hobbit mates, a sweeping chorus of Elves, or a raucous Orcish battle-song — felt deliberate and evocative.
While I missed Tolkien’s lyrics at times, the original compositions stood firmly on their own, supported by stellar performances.
I would actually hope the producers are able to record one of the live performances and release in some form of media at least the music, if not the entire live production, so fans who don’t have the ability to experience this performance in person can also have the opportunity to hear these songs.
STAGECRAFT AND VISUALS
The production’s technical achievements were nothing short of spectacular.
Bilbo’s disappearance at his Eleventy-first Birthday Party was executed with dazzling effects — light, fire, and smoke combining to create a truly magical moment.
The Nazgûl’s entrance was one of the most chilling sequences, with the actors weaving through the aisles as eerie lights and sounds amplified their menace. Seeing them so close in the darkened theatre was a spine-tingling experience.
Other standout moments included the Balrog in Khazad-dûm, brought to life through a clever interplay of light and fabric that evoked its fearsome presence without overloading the stage.
And then there was Shelob! A massive spider puppet emerged from the darkness, literally taking up the entire stage, its movements so lifelike and creepy that the entire audience gasped audibly. It was a jaw-dropping moment of stagecraft that has to be seen to be believed.
The show also excelled at juxtaposition. The Battle of the Pelennor Fields was brilliantly interwoven with Frodo and Sam’s climb up Mount Doom, keeping the tension high across both storylines at the same time. Magical!
Even quieter moments, like Frodo slipping into the “shadow world” when wearing the Ring, were handled with inventive lighting, sound, and acting that heightened the drama and left the audience in silence enough to hear a pin drop.
ADAPTATION AND STORYTELLING
Adapting The Lord of the Rings for the stage is no easy task, and compressing such a vast narrative inevitably means sacrifices.
Some scenes leaned heavily on exposition, which felt a little overexplained at times; but these moments helped orient audience members less familiar with the story. On the whole, the streamlined approach worked, focusing on the most essential arcs without losing the heart of Tolkien’s tale. For example, Theoden was the only character from Rohan featured in the Helm’s Deep sequence — a choice that made sense, given the constraints of time and complexity.
What stood out most was the creativity in how the production handled certain moments.
Treebeard was represented through voice acting alone, with Merry and Pippin reacting to an unseen presence in a way that felt natural and compelling. Kudos to both actors for bringing believability and upholding what could have been one of the weaker points of the production.
Likewise, Bree’s doorkeeper was conveyed entirely through sound effects and timing. The actor’s timing, paired with perfectly synced sound effects of the creaking gate, brought the scene to life despite its simplicity. It was a small but memorable moment, with the actor fully committing to the role and adding a touch of humor and authenticity that stayed with me.
These small, clever touches added unexpected charm and ingenuity to the storytelling.
HIGHLIGHTS AND FINAL THOUGHTS
The emotional resonance of the musical was undeniable.
The Grey Havens finale left many in tears, myself included, echoing the bittersweet beauty of Tolkien’s original ending. So many performances and moments lingered with me long after the curtain fell.
One thing that did stand out to me though was how understandable the production was. I spoke to a couple of people who had never read the books or seen the movies, and they loved it as a standalone work. It drew them into the story enough that they came away wanting to know more about Tolkien’s world. That’s a testament to how well the production works, as an adaptation, as a piece of theatre, and as a tribute to Tolkien.
Of course, no adaptation can please everyone.
Purists may find things to criticise — whether it’s the absence of Tolkien’s original songs, or the inevitable omissions in the story. But I don’t believe the aim of this production is to recreate The Lord of the Rings exactly as it exists in the books. That would be an impossible task anyway. Instead, the musical offers a fresh, deeply creative interpretation that stands as a testament to the power of theatre and the enduring relevance of Tolkien’s work.
Inside the theatre, I spoke to some of the wonderful designers behind the show’s many costumes, and as I was leaving, I spoke with a lovely couple whose daughter happened to have worked as a dresser for the show. They all shared how hard the cast and crew had worked in the lead-up to the premiere, with 13+ hour days to perfect every minute detail. It’s a testament to their dedication that the result feels so polished, from the acting and music, to the stunning technical effects.
I certainly plan to attend again before the musical completes its Sydney run. There’s so much to take in, and so many blink-and-you-miss-it moments, that it’s worth a second (or third) viewing.
For fans of Middle-earth — or anyone who loves epic, immersive theatre — this is an experience you won’t want to miss. Tickets are available – for Sydney, other locations in Australia, and for the UK and Singapore – here.
