“The Hobbit,” written by J.R.R. Tolkien in 1937, has sold over 100 million copies and is considered one of the best-selling books of all time. Non-readers have also found love for Tolkien’s Middle-earth universe when it was further popularized by various adaptations, including Peter Jackson’s epic films. Even those not familiar with the books or films or video games or television series will likely know who Gandalf and Gollum are or what a hobbit looks like.
Tolkien’s universe has gained such cultural notoriety and is so beloved by so many that it can be easy to forget that “The Hobbit” is technically classified as children’s literature. Dobama Theatre’s production of “The Hobbit” leaves little question as to the intended audience: children.
“The Hobbit” follows Bilbo Baggins, a reserved homebody who loves enjoying the simple pleasures in life. When the famed wizard Gandalf comes upon Bilbo, he decides that he is ready for adventure. Gandalf introduces Bilbo to thirteen dwarves, led by Thorin Oakenshield, who are on a journey to reclaim their ancestral kingdom under the Lonely Mountain. Bilbo joins the dwarves as the group’s burglar and they journey across Middle-earth, but before they can reclaim the dwarves’ treasure under the mountain, they must overcome deadly obstacles and defeat the fearsome dragon Smaug, who has claimed the treasure for himself.
“The Hobbit” was adapted into a play with music by Greg Banks and was originally commissioned by and produced at Children’s Theatre Company in 2019. Dobama’s production is under the direction of Erin E. Dolan, who melds “extensive experience as a former longtime early childhood educator with her passion for creating engaging theatre for kids and adults alike.”
With this information in mind, it shouldn’t come as a surprise that Dobama’s “The Hobbit” will be enjoyed by children. What is surprising is how the “fun for the whole family” show might fail to engage those of us who are not children.
Despite encountering what should be menacing foes, the stakes never really feel significant for our heroes, and that’s because nearly every enemy in the quest is unabashedly goofy. They are given voices that are all types of silly and ridiculous, and if those don’t get you to laugh, then maybe a few other gimmicks, such as fart sound effects, will.
Chelsea Cannon (Kili), Rob Grant III (Balin), Ariana Starkman (Ori), Jasmine Renee (Oin) and Chennelle Bryant-Harris (Bombur) are not just responsible for the dwarves to which they are credited, but also portray some of the aforementioned enemies. Yet, whether they are portraying a dwarf, troll, goblin or human, you can be sure that they are playing it big; think bombastic voices, exaggerated mannerisms and lots and lots of yelling.
The exception is Danny Simpson as the dwarf Thorin. Thorin is stoic, responsible and driven, and Simpson’s portrayal is understated and very authentic, proving that there is power in subtlety. Simpson also portrays Gollum and the voice of Smaug. His mannerisms and vocalizations as these two recognizable characters are exceptional, and they lead to the most memorable, engaging moments of the show.
Matthew Wright, who most notably plays Gandalf, should also be recognized for his more down-to-earth portrayal. Wright has large shoes to fill, as he is tasked with embodying one of the most recognizable characters in cinema, and he does a fine job.
The titular hobbit is played by Cody Swanson, and while he gives an impassioned performance, Bilbo often comes across as a bit whiny. This is due in part to Banks’ script, which has Bilbo restate his character flaw to a rather annoying degree. Still, Swanson’s passion for the role is evident, and it comes across as heartfelt.
Along with being very on-the-nose, Banks’ script also struggles when it attempts to pack a well-known novel into an hour and 45 minutes. The adventure, which should be full of excitement, begins to feel more like a sprint through a checklist of tasks. This means that obstacles must be overcome quickly, and there is little time to delve into character relationships. Even the penultimate exchange with Smaug is disappointing in its brevity.
For those of us who have an already established fondness for Tolkien, the show’s production values are incredibly enticing. Ben Needham’s set is a loving homage to the Baggins’ hobbit hole, using arches and carved detailing to construct a nostalgic playing space. Jasmine A. Golphin projects intriguing images and video, including landscapes and maps, onto two round hobbit doors that are used as entrances and exits throughout the show. Lighting designer Maya Michele Fein and sound designer Angie Hayes help bring to life dark, wet caves, caverns filled with gold and forests riddled with scuttling creatures.
India Blatch-Geib’s multi-layered and patterned costume design takes some liberties, but is certainly fitting for Middle-earth; however, be forewarned that there are no beards or hobbit feet to be found. The props and puppets designed by Dred Geib are impressive bits of theatrical magic that give life and dimension to furry, scaly and stony creatures alike.
“The Hobbit” may be considered children’s literature, but that does not mean that it is childish, which is one of the many reasons that it resonates with varied audiences. Dobama’s production is theatrically sound, and when approached from a children’s theater lens, you’re not likely to be disappointed. However, for the Tolkien fans eager to revisit Middle-earth this holiday season (of which there will be no shortage), it is important to temper expectations and realize that “fun for the whole family” might not be as fun for everyone.
“The Hobbit” runs through January 4, 2026 at Dobama Theatre, 2340 Lee Rd., Cleveland Heights. Visit dobama.org or call (216) 932-3396 for tickets, $30-48.
Subscribe to Cleveland Scene newsletters.
Follow us: Google News | NewsBreak | Reddit | Instagram | Facebook | Twitter