This outdoor production of ‘The Hobbit’ is a timely celebration of classic bravery

The smashing success of Christopher Nolan’s “The Odyssey” might tell us something about ourselves: Amid the problems of the world today, we are hungry for a mythic, faraway escape. Add Zephyr Theatre’s outdoor production of the fantasy classic “The Hobbit” to the list of options.

In the show’s program notes, Zephyr’s new artistic director, Reed Sigmund – a familiar face from his many roles at the Children’s Theatre Company – said he asked himself, “Why this show, why now?” He found his answer in Bilbo Baggins, the comfort-loving homebody forced to decide whether to remain on the sidelines or join a struggle not his own.

Bilbo’s choice recalls the neighborly spirit and community mobilization many Minnesotans displayed during the winter’s Operation Metro Surge. His struggle speaks directly to our moment, the play seems to say. “A wrong that is silently seen will not fix itself,” one character says.

Sigmund’s playful direction of playwright Greg Banks’ minimalist and droll adaptation of J. R. R. Tolkien’s classic carries a timely resonance even as it offers an appealing distraction. And Banks’ script moves briskly through Tolkien’s story, hitting the major plot points without lingering. This isn’t Peter Jackson’s three-part film slog (2012-14), but rather clipped storytelling with a small cast of five performers taking on multiple characters.

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Sigmund’s directing style matches Banks’ writing in that it doesn’t take itself too seriously. Sigmund guides the young cast through a physical production, one that privileges creative choices over big-budget theatrics. No need for horses when actors can create the illusion of galloping and add the sounds of horseshoes.

Diverging from the novel, Bilbo and the wizard Gandalf are female characters in this production, played by Grace Hillmyer and Antonisia Collins respectively. So is the dwarf Balin, played with sweetness by Anya Naylor. In addition to opening roles for women in what has traditionally been a very male story, the gender swaps inspire a fresh tone. Collins brings a savvy calm to Gandalf while Hillmyer offers Bilbo an empathetic vulnerability. “I’m here because right now it’s the right time to do what’s right,” she says earnestly.

Seeing women inhabit traditionally male fantasy roles prompted me to think about another fantasy franchise that has recently become entangled in contemporary politics. J.K. Rowling, author of the “Harry Potter” franchise, plans to use forthcoming earnings from her media franchise to fund anti-trans advocacy. For folks wanting to avoid supporting those efforts, Zephyr’s production of Tolkien’s world offers a welcoming alternative.

The production embraces its ensemble spirit. Collins, for instance, also plays one of the dwarves, who conveniently has to go to the bathroom every time Gandalf needs to be on stage. The costumes are equally economical, hinting at the different characters with one or two emblematic pieces. The production’s goblin masks are wonderfully simple, and the famous scene where Bilbo’s crew escapes the wood-elves in wine barrels comes to life with a handful of plain cylinders.

Jeffrey Nolan, who plays the dwarf Kili along with the plum roles of the pesky Gollum and the dragon Smaug, pulls off several quick costume changes. His Kili is gruff and snarly till Bilbo wins him over; his Gollum resembles Andy Serkis’ performance in Jackson’s movies; and his haughty, devil-like Smaug feels impishly silly.

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The one aspect of the show that didn’t quite work was the music. Sophia Schott’s sound effects are great, but several folk songs by the likes of Peter, Paul and Mary, Simon and Garfunkel and John Denver don’t support the story or the vibe. Yes, “Puff the Magic Dragon” is about a dragon, and the characters from “The Hobbit” travel “Country Roads,” but the songs never fully blend with the production. Schott’s a lovely singer, so perhaps different and better-timed selections might have worked better.

The outdoor production takes place at Aamodt’s Apple Farm, a delightful place to visit even on non-show nights. Come early for apple picking or to stop in for refreshments at the on-site establishments like Saint Croix Vineyards and Thor’s Hard Cider. Grab one of the sweet items from the bakery, or try out Aamodt’s apple brats or Honeycrisp apple salsa. The show takes place away from the main action of the orchard and overlooks a wooded area, providing a charming, community-centered escape.

Upcoming performances are on Thursday, July 30th and Friday, July 31st, at 7 p.m., Saturday, August 1, at 2 p.m. and 7 p.m., and Sunday, August 2, at 2 p.m. at Aamodt’s Apple Farm & Saint Croix Vineyard, 6428 Manning Ave N., Stillwater. ($42 for a chair seat; $37 to bring your own chair for an adult; $21 to bring your own chair for ages 10 and under). More information here. 

Another Dinner and a Show Option

If the idea of theater and dining sounds appealing, you might also consider heading to the Guthrie Theater, where Sean Sherman’s new restaurant, Indígena by Owamni, opened on July 4. After watching Noël Coward’s “Private Lives” last weekend (a thoroughly enjoyable farce that’s quite a bit darker than it first appears), my friend and I sat at the bar and enjoyed maple and sumac glazed venison skewers as well as smoked whitefish tostadas with mashed tepary bean and a green salsa with avocado and tomatillo. It’s been so many years since there was a decent dining option after a Guthrie show, and it felt so satisfying to enjoy the flavors while discussing an excellent production with to-die-for costumes – problematic romanticization of domestic violence and all. “Private Lives” runs through August 23 at the Guthrie, 818 S. 2nd St., Minneapolis ($24-$94). Indígena by Owamni is open Tuesday through Thursday and Sunday 11 a.m. to 11 p.m., Friday – Saturday 11 a.m. – midnight. 806 S. 2nd St., Minneapolis.

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