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mischieffoal · 1 year ago

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Rosie, Frodo and Sam, Now and for Always

Here it comes: Cici’s chaotic “review” of Lord of the Rings: a Musical Tale

(Spoilers for the musical: go and see it (it's running until mid-October 2023) and then read this)

“My emotions are a wreck, and now we must obviously discuss all of the musical’s shortcomings and its adaptational choices and the costumes, when I really want to stand in a field and yell. After a few hours on the train of actually very good discussions, I cycle home and yell in the park.

5 stars.”

Nothing like a bracing sprint through Reading station to forge fine friendships over somehow managing to get to Newbury and the Windmill Theatre in time. We unite with our friends, get a group photo in the designated Instagram spot and, most importantly, confirm that there will be ice cream in the interval.

It’s Mr. Bilbo’s eleventy-oneth birthday, didn’t you know? The hobbits make sure we are well informed, and someone on our picnic table is accosted by Fatty Bolger and made to play whack the rat. They all look lovely, waistcoats and sandals abounding, and some watching fauntlings are very gently introduced to hoopla. In general, if you are LARP-positive, sit at the left hand end - we were in the prime spot. Bilbo complimented my cloak and I derided my companions once again for being the only cloaked representative of our smial. Then, someone else approaches - she asks us if Mr. Bilbo said anything odd. Nothing odd at all, we reply, all a perfectly normal party. I think he’s planning something, she says. I’m worried about my spoons. I gasp. “Madam, may I ask, are you perhaps Lobelia Sackville-Baggins?” “I am!” “Madam it is an honour! I am honoured to be in your presence!” She shakes my hand. My life is complete.

Soon enough, the actual musical begins, narrated by partying Hobbits. Now and for Always had stuck in my head just from the soundtrack on YouTube, and it’s a worthy start to the show as Mr. Bilbo tells the same old stories that he always does. Hobbits sing and dance and every one of them plays an instrument. Someone has a piccolo, someone else has a lute. Bilbo has a harmonica and an accordion. Every single Hobbit has an unspecified country accent. The Brandybucks are loud, the Proudfoots are Proudfeet and Fatty Bolger moans at me about it. R says he knows who’s playing Gollum, because he’s bald. Frodo is very sweet, but I catch Lobelia’s eye across the garden and commiserate with her at her ill fortune. Sam asks Rosie to dance, and I fall in love with them (Sam is Sri Lankan, and sounds it, and Rosie has Afro hair, and they make me very happy). Bilbo gives his speech, “magically disappears”, and 17 years pass as we all get up and troop into the theatre proper.

We’re on the side of the balcony, in a wonderful wooden interior that J guesses might have been a church at some point. We return to the action with Frodo, Sam and Rosie, greeting each other with a little two step jump that I want to do with all my friends. Frodo sends them off to the Ivy Bush, because there seems to be some kind of trade mark problem with the Green Dragon. Gandalf enters bombastically, and Frodo and Sam leave as soon as they know their task, because they know that the show is only three hours long, including an interval.

The singing begins! Walking fast, singing and playing as they go - The Road does indeed Go On, the centre stage rotates as they dance-walk around it. Merry and Pippin assail them in a projected cornfield, because they’re his cousins and they’re not letting him do anything dangerous alone. Frodo is very put upon. Merry plays the cello, hanging round his neck, Pippin has a fiddle, and Sam a guitar. Also, Pippin is a girl, not just played by one. Good for you, Pippin Galadriel Moonchild. She’s also terrified of trees (Merry knows a less Tree-ish route and the Old Forest is resoundingly ignored.)

(Photo Pamela Raith)

And then! Elves! Gildor and Earendil sung with a Y! All the elves are wearing lovely blue tabards. Dark is the road ahead for Frodo, and danger follows their path. That’s nice and cheery.

(Speaking of costume, Gandalf and Saruman have very nice robes. Saruman is played by the bald one R assures me will be playing Gollum. They have a fun little stand off across the rotating stage, and Saruman isn’t hiding any of his schemes - army included. Uh oh.)

In the Prancing Pony, K says she’s going to play “spot the Strider” but Strider is in fact very very bad at being inconspicuous, as the only one wearing a hoody.

Strider makes himself known, and so does Pippin, and Frodo’s brilliant distraction plan is to sing a song. He’s not at all prepared for this and walks like a puppet, but the Brandybuck and Took contingent are raring to go with the Cat and the Moon, and soon Frodo is having a lovely time dancing on tables and all. Let’s pretend that Frodo’s smile will never fade.

The Ring goes on. Mari Lwyd black riders appear. Frodo looks like he’s underwater and it’s very funny. Stabbing ensues (no time for Weathertop today). Run! Run for Rivendell! (Costuming side note: Strider has a banging undercut and goatee situation going on). Arwen enters playing a harp, singing a Song of Hope in a bunch of elvish with no subtitles. Tolkien would approve. “The weary traveller returning… home.” It’s Strider, and we learn that this is the first time he’s returned since disappearing to be a ranger. He’s grown a lot, Arwen says. Strider mumbles something about not wanting any bigger destiny than her. Then Frodo wakes up and it turns out they’ve been having this lovely romantic discussion is his hospital wing. Ah, good, says Frodo, we successfully completed our adventure! Merry is very excited at the amount of books and maps, also did you know that Arwen is a half-elf, technically, and did you see the way she looked at Aragorn, and did you know that she’s thousands of years older than him?

(Photo Pamela Raith)

The council is called, Saruman the bald is also playing Elrond the bald, and is generally an old wise man. All of the elves are obsessed with hand gestures, and their hands are never below their waists. Everyone has so many problems, but Boromir (with another very cool undercut) wastes no time telling everyone Gondor has it worst. The steward is asleep, you say? And you had a dream and followed it here? But the sword that was broken is as lost as the One Ring. (Boromir has great dramatic timing.) Frodo will take the Ring to Mordor, though he don’t know the way. Gimli will go with him, and so will Legolas and Gandalf and Strider. (The Elf and Dwarf are Iranian and Black, and it really stands out amongst the otherwise white Men - I like it a lot). Strider asks Boromir nicely and Boromir says fine, he’ll come too. The fellowship of the ring! A rousing ensemble number with Earendil with a Y! Boromir is playing the trombone and singing at the same time and it’s the best!

Saruman learns of the Fellowship from his useless gas-mask orc minions. He deals with it himself - with menacing flute music. He flutes up a storm on Caradhras, and the Fellowship must go through Moria. Gimli reverently takes a guitar, and sings them a song of his people, as the fellowship and the audience have a chance for a rest. Then drums start in the deep, a balrog is come, and Gandalf is gone. They must continue - to Lothlorien. That horn player is a different elf now, you can tell because their tabard is gold this time!

They arrive blindfolded as Legolas waxes lyrical about the elves of the golden wood, and it turns out he’s not in love with Galadriel he’s just really patriotic. Galadriel tells Frodo they will both share a great loss, and also sings a power ballad.

(Photo Pamela Raith)

Everything falls apart after Lorien, as we all know. Boromir dances with the hobbits before the orcs get him - Strider appears seconds too late, and Boromir tells him he’s failed, the Fellowship and his people. Strider shows him his broken sword (he’ll show you his if you show him yours) and finally claims his birthright. Boromir begs him to save “our people” and Aragorn really can’t deal with that, especially when Boromir dies in his arms. Aragorn is the best actor in all of this and it’s mainly in degrees of how much he cannot deal with this. The three hunters reunite, honour Boromir, and finally pick themselves up for the road ahead - Aragorn can see the hobbits’ footprints…

In the interval we theorise on how they’re going to fit two whole books into a second act shorter than the first one. Are they just going to cut the entirety of Rohan? That’s the bit of the book I can never understand. The ice cream is very nice.

As the lights go up, Sam races after Frodo and berates his idiot upper-class master who thought he could do anything without him. They set out on their long journey, and from the other side of the stage, Pippin and Merry come charging in. They’ve already escaped from the orcs, as we really don’t have time for that. Pippin is confronted with her fear of trees. Entish is a very musical language which was beautiful to experience, and I think a far better rendition of trees talking than any realism could give. Musicians stood around the auditorium and plucked and strummed their discussion (Gimli was behind us drumming the plumbing).

(Photo Pamela Raith)

Saruman, meanwhile, directs a cool break dance number from the orcs. They’re going to crush Minas Tirith, and then Sauron will surely think Saruman is an ally, a massive victory for the Light.

The rest of the cliffhangers from act one get resolved in the next ten minutes. The three hunters can tell from the footprints that the hobbits are safe, so they race the breakdancing orcs to Minas Tirith. (No Rohan, I whisper to K). Aragorn demands an entrance to see the Steward (played by Bilbo, this company has one old wise man and one old father figure). The Steward is under Saruman’s spell! They call him Denethor but he’s serving Theoden’s role, with considerably less drama as it only takes Aragorn revealing himself as King to wake him up from the curse.

They agree to fight together to defeat Saruman! It’s another ensemble song and dance! Gandalf the White returns, and doesn’t come alone! The trees are marching! And Boromir’s actor is playing the trombone behind Denethor as he fights to defend their people, and that made me very emotional.

It’s Gollum time. Nearly naked bald man with full body dirt makeup scrambles around theatre and balcony, more news at 7. R seems unable to comprehend a theatre company having two bald men in it. This actor was so physical, my director brain was terrified of the risk assessments that must have been required for him to run along the balcony barrier.

Victory at the Pelennor Fields! TheoDenethor is slain, but the free peoples have won. They ride to Isengard. Saruman enters, and in a very dramatic and tense moment, I thought he greeted them with “Sup”. (Sadly it was actually “So”). Gandalf is sure that this will not be the end of Saruman’s mischief…

Frodo and Sam (and Gollum) are carrying on, but it’s hard going. They reminisce on the stories they used to listen to, and Sam gets out his guitar as they wonder what kind of story they’re in. Sam sings to Frodo, a reprise of Now and for Always from Mr. Bilbo, and his master tiredly joins in. He hasn’t smiled for days. “Tell us a story, of Frodo and the Ring”. Sam falls asleep, and it’s Frodo turn to sing about him - “no finer friend, now and for always”. Frodo doesn’t quite manage to finish the chorus before he falls asleep beside his Sam - but Gollum takes over in a horrifying corruption of their duet. It took me a while to realise it, but this Gollum’s voice reminds me of Voldemort from A Very Potter Musical - not at all a bad thing, but a specific niche of “very creepy and also pathetic”.

(Photo Pamela Raith)

Aragorn is crowned, and receives the reforged sword. Together, the representatives of the free peoples plan to storm the Black Gates, in a hopeless battle - for Frodo. Smeagol/Gollum finally decides to lead them to Shelob, and Frodo trusts him. “Well,” Sam says, “let’s walk into Mordor.” Cackles from very small pockets of the audience.

Shelob is a REALLY COOL PUPPET. Sam manages to stab her with the LED Sting as he is seconds away from his doom. Galadriel empowers them with ballads from afar, but Frodo can barely walk. Sam takes the ring to try and relieve his burden, and Frodo doesn’t even notice. Gollum returns and swears he knew nothing about the giant spider, what giant spider? She wasn’t there last week!

Aragorn, in the B-plot of the musical (we realised afterwards that in the books, destroying the Ring and saving the world is the B-plot), gives a rousing speech to get everyone gearing up for a battle they’re all going to lose. Arwen (I think, or is it Galadriel, I’m writing this the day after and I’ve slightly lost the plot) calls to Aragorn and starts off the ensemble number "out of grief, joy".

Meanwhile, tension is rising in the Frodo-Sam-Gollum-Smeagol polycule. Everything will change, when they destroy the ring. “The elves, Sam, they’ll disappear - all of the magic will be gone out of the world. But if I take the ring!” No one can resist the ring. Gollum and Frodo speak and move as one as they condemn Sam as a traitor and a thief. At some point in all of this Frodo gets the Ring back, Sam runs away, Gollum attacks Frodo, Sam protects him, and Frodo wakes up enough to cast Gollum out instead. I’m very tired and can’t remember when this all happens, but it was all very emotional.

The free peoples fight, and they all dance and stand so differently you can tell which peoples they all are even without the height differences. Legolas shoots from on high, Gimli is rooted to the ground with wheeling axes, Aragorn just stabs so many orcs. Merry has his cello and uses the bow to attack, and Pippin has her accordion. We love Pippin. She’s here for moral support.

(Photo Pamela Raith)

Sam and Frodo reach the top of Mount Doom and wrench open the backdrop doors. Sam can’t take another step and collapses behind Frodo as he tries once more to take it for himself - before Gollum appears. Gollum’s fall was beautiful and slow - he’s caught by black clad actors on a darkened stage and they gently let him down into the fire. And then it’s done.

The ensemble sings as Gandalf the White comes to save the two hobbits, and they reunite with their friends as Aragorn bows to the Shirefolk (and holds Frodo’s head so close that he re-awakened my inner Frodo/Aragorn shipper). Gandalf inexplicably says he’s off to have a chat with Tom Bombadil, who we had been ignoring, but that he’ll see Frodo again.

The hobbits return to the Shire, and Lobelia tells us Saruman has been there. We all have to work together to restore the Shire, including the audience - up you get, get outside and get LARPing again. We help the hobbits restore the battered garden to its former glory, and Rosie and Sam are married! Frodo never can return to the cheer he had at the beginning of this adventure. The actor had literally added eye bag makeup, I winced in sympathy when I saw him. Gandalf and the many elves of Middle Earth reach the Shire. They are going into the West. Frodo gives Sam the book in which to write their story. The hobbits do a very sad little dance jump greeting and Frodo hugs Sam tight, before he goes on his way towards the sails of the Grey Havens.

(Photo Watermill Theatre)

Rapturous applause! Everybody’s back on stage for a rousing final Cat and the Moon! Don’t worry about Frodo’s depression, we’ve got to sing a musical number for us all to go home to! My emotions are a wreck, and now we must obviously discuss all of the musical’s shortcomings and its adaptational choices and the costumes, when I really want to stand in a field and yell. After a few hours on the train of actually very good discussions, I cycle home and yell on my way through the park.

5 stars.

#lotr #lotr musical #lord of the rings #lord of the rings musical #watermill theatre #lotr fanart #tolkien #tolkien fanart

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beautifulgiants · 2 years ago

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A quick call about leather fits and Legolas' dad with Lee Pace

“Times have changed a bit, and the world recognises that there's not just one kind of man out there.”

By Zak Maoui 4 July 2023

Lee Pace, who is currently on the press tour for the second series of the Apple TV galactic epic Foundation, loves to get dressed up. The guy with the devastatingly good ‘brows is known for having fun with his clothes. We recently saw The Hobbit alum wear an armour-like leather tabard under a suit while promoting the upcoming miniseries in London, and not long before, the 6’5 actor showed off his calves in a pleated skirt in a GQ from 2020. “I'm still learning though,” Pace, who's midway through getting changed, says via Zoom from the Intercontinental hotel in Paris ahead of the Thom Browne haute couture show. “I don't really know the boundaries of getting dressed, or if there even are any. That leather look last week just felt sexy. I felt sexy.”

44-year-old Pace, who was raised Catholic, hasn't always felt this comfortable getting wavy with his wardrobe. “When I was younger, you definitely felt like men were prescribed a certain way of dressing and you didn't really deviate from the example sets,” he says. “Times have changed a bit since then, you know, and the world recognises that there's not just one kind of man out there.” Pace admits that when he was filming his breakthrough show Pushing Daisies back in the early '00s, there was not a chance that he'd be dressing the way he does now. “I don't think that I would have felt comfortable during that time of my life.”

Pace finds that, as he's now older, he's stopped caring so much about what people think about his appearance. “I just can't take anything too seriously, you know?" he says. "I used to think if I didn't adhere or look respectable then I'd be kicked out of whatever I was at. But I've been here a while now, doing this acting thing, and I'm not going anywhere.”

For Thom Browne's first ever couture show, Pace wore an outfit that he describes as “a little bit nuts. It's super fun. But you know, I like to have a good time. I don't take anything too seriously.” Which meant a pair of Browne's signature grey trousers scissor cut at the knees to create a pair of shorts. To match, the Guardians of the Galaxy star requested a shirt have its arms torn off, as well as a waistcoat. “I've been kind of cutting the sleeves off my shirts for years now, it's just something I do,” Pace says. “Cut the shorts, I said. Cut the shorts!”

To complete his outfit he threw an oversized paisley jacket over his shoulders and wore a pair of chunky rubberised boots. It's the sexy, fleshier vibe that menswear's moving towards: aka the reason why the Internet loves Pedro Pascal. And Pace is down for it. “Thom Browne represents a bit of everybody, whether it's queerness, gender expression or something else. It's a brand that has a special alchemy. It's all about individuality. And it's cultivated a sort of community through his crazy, crazy clothing.”

Pace recognises that with clothing, comes power. He's also obsessed with the theatre – he's a self-confessed Shakespeare nut – and sees an element of the dramatic arts in Thom Browne. “As an actor, I know that clothing and costumes give you a certain feeling. They can change your mindset and will actually force you to get into character,” he says, explaining that he found the costumes he wore as Legolas' dad on the set of Peter Jackson's The Hobbit some of his favourites to date. “We had so many fun fittings, where we just had a good time exploring who this Elvenking was and the story we can tell through his clothes.” It's with Foundation, too, that Pace is really enjoying himself. “I play this crazy guy who thinks he's a god. I think about that in the costume fittings and think about how he dresses and presents himself. I think his delusion – he thinks he's a goddamn god – informs how he puts on his clothes.”

Pace approaches it all with a little less ego, though. It still feels like fun. “I'm just enjoying using clothes to express who I am. I'm not all about stiff suits that many think are the signs of masculinity. There's other ways to express your masculinity.”

#beautiful giant #lee pace #thom browne #fashion #masculinity #gq #gq magazine

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