Ambitious adaptation of Tolkien’s classic brings Middle-earth to life, with spectacular theatrical effects and high energy, committed performances.

Over the years, J.R.R. Tolkien’s The Lord of the Rings has inspired countless adaptations, including the critically and commercially-successful film trilogy by Peter Jackson. Compressing the entire saga into a single three-hour musical is a daunting challenge, but this production, with music by Bollywood icon A.R. Rahman, Finnish folk group Värttinä, and Tony Award-winner Christopher Nightingale, embraces that challenge head-on.

Now making its Singapore premiere at Marina Bay Sands’ Sands Theatre, presented by Base Entertainment Asia and produced by Kevin Wallace Productions and Middle-earth Enterprises, The Lord of the Rings: A Musical Tale delivers a sweeping, imaginative take on the journey from the Shire to Mount Doom.

With lyrics and book by Shaun McKenna and Matthew Warchus, the show launches in raucous fashion: the audience finds ourselves in the middle of the Shire, as hobbits prepare for Bilbo Baggins’ eleventy-first birthday. The large ensemble, dressed in earthy tones and bounding with energy, jigs through the aisles, photobombing, weaving between seats, and breaking the fourth wall to draw the crowd into their joy before the story’s darker turns. The decision to involve the audience from the very start makes us feel like denizens of Middle-earth ourselves, not just observers, a choice that pays off in immersion throughout the night.

From there, the production follows Frodo Baggins (Rarmian Newton) as he inherits the One Ring from Bilbo and gathers the Fellowship; Samwise Gamgee (Wern Mak), Merry (Jeremi Campese), Pippin (Hannah Buckley), Gandalf the Grey (Terence Crawford), and their allies Strider (Rob Mallett), Boromir (Rohan Campbell), Gimli (Connor Morel), and Legolas (Conor Neylon), who set out on the perilous quest to destroy it in the fires of Mount Doom.

Given the material’s breadth, much of the runtime is spent transporting the audience through Middle-earth’s varied landscapes. This is achieved on a single stage with minimal set changes, made expansive through projection mapping, fog, surprise entrances, shifting perspectives, and clever lighting. The choreography is especially effective, where fight scenes, dances, and movement patterns work seamlessly with the set design to make the long trek feel authentic and physically demanding. The methods used to convey the sheer difficulty of the Fellowship’s journey is a feat in itself, and we feel their fatigue and effort. The cast use every inch of the space, whether climbing ladders, disappearing into the darkness, or spilling into the audience, and even feature towering puppets conjure awe and menace as supernatural creatures appear from thin air.

This is a stage spectacle matched by complete and total commitment in the performances. Rarmian Newton and Wern Mak anchor the show with charming, heartfelt portrayals of Frodo and Sam’s steadfast friendship, making its later strain under the Ring’s corruption genuinely affecting. Both of them display clear character development over the course of the show, rising to find the courage within when the going gets tough, and always finding strength in each other – we constantly root for them both thanks to their innocence and sincerity, their struggles completely understandable such that we always want them to succeed. Jeremi Campese and Hannah Buckley bring comic relief as Merry and Pippin, while Terence Crawford’s Gandalf exudes gravitas, especially in the Balrog sequence, where swirling smoke, flashing lights, and looming eyes turn the stage into a chasm of danger.

Among the supporting cast, Jemma Rix is a class act, literally shining as Galadriel, descending on a glowing, pulsating sun-like structure in a golden gown, her voice soaring with warmth and a dangerous edge when tempted by the Ring. She commands the attention of the entire theatre, and when you see the Fellowship enthralled by her beauty, you completely believe them. In Act Two, Laurence Boxhall’s Gollum is a feral, unsettling presence, shifting between split personalities with physical precision. Physically larger than his film counterpart, he looms as a tangible threat while still evoking pity in his moments of hesitation in debating whether to harm the hobbits.

A distinctive feature of this production is the absence of an orchestra pit. Instead, the over 20 instruments are played live onstage by the actors themselves. It’s easy to miss just how demanding this is: the musicians perform in character, seamlessly blending into the action while delivering precise live music. This adds a layer of authenticity and magic to the world-building. Seeing performers carry cellos, violins, and horns while trekking Middle-earth demands a leap in suspension of disbelief, yet their conviction makes it feel natural, and director’s blocking often transforms these scenes into striking tableaux of music and movement.

In fact, there are also plenty of creative choices that ditch realism for mood. The leather-clad, goggle-wearing orcs flip and cartwheel across the stage, and the resulting stylised battles, with mimed arrows and choreographed swordplay, become thrilling spectacles of organised chaos, a highlight of the production. In a similar vein, the mass dance choreographies also evoke wonder, and we cannot help but feel the joy emanate from the cast as they celebrate together in sync.

For all its achievements, the show’s scale is also its limitation. Fitting the entire trilogy into three hours inevitably creates uneven pacing. Act One feels long, while Act Two rushes through major action before lingering too long on the resolution. Despite the pedigree of its composers, the score, while always mood-appropriate, offers few truly memorable tunes for the ages.

Still, Lord of the Rings: A Musical Tale deserves admiration for its ambition alone. It tells the full story, truncated but complete, and captures the heart of Tolkien’s world: the intricate landscapes, the ensemble of characters we grow attached to, and the timeless themes of friendship, courage, and doing the right thing. Fans of Tolkien will appreciate this adaptation, while newcomers will be intrigued. By the end of the long night, you may leave sore from the journey, but also with your heart full, reminded of the hope and imagination that have made Middle-earth endure for generations, and still persist even today.

Photo Credit: Daniel Boud

The Lord of the Rings – A Musical Tale plays from 12th to 31st August 2025 at the Sands Theatre, Marina Bay Sands. Tickets available here