Spencer Davis Milford and Cast Photo by Liz Lauren

Simon Kenny's scenic design lays the foundation for the show's appeal. This is no small feat, given the real and supernatural landscapes the set needs to create for the story to translate. Kenny grounds the visuals in the Shire, creating a stage-within-a-stage of wooden walls that rise from floor to cavernous ceiling and wrap around to the wings.

The blend of visible woodgrain with beautifully carved Celtic-inspired designs establishes the centrality of the Hobbits' worldview and way of life to the journey. Ladders at stage right and left afford the cast access to the full height of the space, and characters frequently appear and move through the entire theater space, literally (and effectively) immersing the audience in the story.

The top third of the upstage wall is dominated by an oversized knothole in a clear nod to the Eye of Sauron. Rory Beaton's lighting design and George Reeve's projections skillfully and fluidly move the audience to all the points along the journey not just visually, but emotionally and conceptually, as the Eye gives way to the swirling silver stars of Rivendell, the shimmering gold of Lothlórien, and pulses black and red or shocking, deathly white any time Frodo gives into the power of the ring.

The rendering of the Nazgûl, the Balrog, and Shelob through puppetry (design by Charlie Tymms, original puppet direction by Ashleigh Cheadle, Chicago puppet direction by Lindsey Noel Whiting) and stagecraft is outstanding. The physical objects are masterworks, but the sum total of the lighting, sound (original design by Adam Fisher, Chicago sound design by Nicholas Pope), and of course the movement of the cast members is breathtaking.

Kenny is also credited with the costume design and, overall, these are very well done, too. The Hobbits' costumes lean toward the rustic-but-comfortable, and the array of Birkenstocks, Tevas, and other contemporary "tree-hugger" sandals they sport represent a fun wink and nod, signaling that the production trusts the audience to fill in details for the different "races" represented in the story, rather than introducing unnecessarily complicated attempts to render different heights, builds, and other elements of physical appearance. Similarly, the costuming for the Orcs and the character design for Gollum, particularly in combination with Anjali Mehra's stunning choreography and movement direction, are chilling and thrilling.

The visual design for the Elves of Rivendell and Lothlórien is one of the few areas where the production stumbles a bit. Taken on their own, the deep hues, rich textures and elegant combination of tailored, structured lines and draping elements are lovely. And certainly, it is crucial to impart a sense of otherworldliness to the Elves. But there is a certain "mash-up" feel that shines a light on what Tolkien fetishizes and finds exotic. Arwen's deep purple gown with silver elements seems firmly situated in contemporary ideas about what medieval Europe looked like, whereas Elrond and the other Elves map on to some combination of colonial era South and East Asian. In Lothlórien, the vibe is more uniformly South Asian, but only Galadriel's crown seems to connect to this, whereas her glittering gold pantsuit somewhat jarringly evokes Eurovision pageantry.

As a musical experience (as opposed to a stage musical, per se), there is much to enjoy here. As with the costumes, there are some minor bumps in the road, but also major triumphs. The orchestrations (original orchestrations by Nightingale, Rahman, and Värttinä; music supervision and orchestrations by Mark Aspinall; and music direction and programming by Michael McBride) associate the Hobbits with stringed "folk" instruments, and the fact that music weaves easily in and out of their experiences to connect them to the Shire itself and more importantly to their community and loved ones is a lovely, subtly executed technique. Moreover, the folk melodies and dances associated with them are the most memorable.

The brass instruments, particularly low brass, signify the world and the concerns of the race of Men. The music itself is lovely, but as with some of the costuming, there are a few "by the numbers" instances where the music is inclined to take one out of the moment, rather than become more fully immersed in it. The music for and by the Elves leans toward the exotic and the operatic; the performances are stirring and necessarily pack a punch, but the integration into the overall feel of the show is not entirely successful.

Spencer Davis Milford and Michael Kurowski offer wonderful, anchoring performances as Frodo and Samwise, respectively. Their rapport serves as the emotional heart of a familiar story, but each capitalizes on the material that this version gives them to assert their own version of the characters. One of the strengths of the book is that it elevates what is often depicted as an effective but purely emotional journey to include greater introspection and a deeper consideration of good and evil, courage and empathy, and so on.

Milford captures new and enlightening elements of Frodo's inner journey, particularly in the brief flashes the audience gets of the immense pull of Sauron's power. To call Kurowski's take charming sounds dismissive, but it is charming, and thoroughly so. It is a pleasure to watch as he moves from being smitten with Rosie (Suzanne Hannau, who is a wonderful standout performer and emotional touchstone) from the first moment of their first dance to realizing the fullness of the life that he wants with her back in the Shire, though there is never any question that his love for and commitment to Frodo and the work they must do is equally real and important to the character.

As Merry and and Pippin, Eileen Doan and Ben Mathew more than capably bring the fun and comic relief, and though the story of their growth is somewhat lost to the edits necessary to stage the trilogy, the two also carve out individual characters without sacrificing the appeal of their joyous tag-team dynamic. The same can be said of Justin Albinder (Legolas) and Ian Maryfield (Gimli): the story of these two characters both individually and in relation to one another is greatly reduced, but the actors distinguish themselves enough to make the audience wish it were practical to tell each story in depth.

Tony Bozzuto's performance as Gollum is certainly an homage to Peter Jackson's vision as realized by Andy Serkis, and yet it would be a grave disservice to Bozzuto to imply that there is nothing of interest beyond that skillful homage. His physicality is mesmerizing, and when he echoes the tender folk melody that Sam and Frodo have been singing, he strikes an emotional chord with the audience that prompts nervous laughter and heartrending sympathy in equal measure. Bozzuto's Gollum is no more a simple monster than Milford's Frodo is simply good by nature.

Will James Jr. also offers a strong performance as Aragorn, though the character's story is somewhat minimized in this telling. James Jr., though, generates a sense of quiet strength and natural leadership while offering insight into the fact that the temptation to set aside the crown and the Sword That Was Broken is real and constant. The fact that the production offers a brief but emotionally impactful moment between Aragorn and Boromir (Matthew C. Yee in yet another efficient, effective, and affecting performance in a role that is necessarily reduced here) is an enlightening gift to the audience.

The dynamic between Tom Amandes (Gandalf) and Jeff Parker (Saruman) is an interesting one; the two lean into the political, rather than emphasizing the mysterious and the mystical. The shift in emphasis is subtle, but critical to the show, establishing its distinctive take on the story and its continuing resonance beyond simple fandom. It is somewhat curious that Parker is double-cast as Elrond. His performance in this role is certainly good, but the intention of the casting is not necessarily clear.

Alina Taber (Arwen) and Lauren Zakrin (Galadriel) offer stellar vocal performances and, dramatically, they are all in for the ethereal characters the show presents them with. Whereas performances by their castmates prompt the audience to want more of some of the characters (even as we recognize that the narrative has been streamlined in a way that is intelligent overall), Taber and Zakrin make one wish that these powerful women were better integrated into the show overall.

Lord of the Rings–A Musical Tale runs through September 1, 2024, at The Yard at Chicago Shakespeare Theater, 800 E Grand Avenue, Chicago IL. For tickets and information, please visit www.chicagoshakes.com or call 312-595-5600.