One of the unexpected joys about Lord of The Rings at the Theatre Royal in London is its glossy programme which, as you might expect considering the scale and nature of its source material, features some decidedly colourful credits.

Hobbit Nonsense Lyrics and Balrog Origami Adviser are just a few that captured not only my attention, but those of everyone around me (especially since the Balrog, for those of you unfamiliar with JRR Tolkien's magnus opus, is a giant fire breathing demon which couldn't possibly have any connection with the world of paper folding).

But then, in a bizarre way, this idiosyncrasy typifies the appeal of a show that is probably one of the strangest, most wondrous, extraordinary (and extraordinarily dull), inspiring, staggering, annoying and crackbrained spectacles I have ever seen... In short, think Lord of The Rings, think Millennium Dome. Because theatrically, that's precisely what it is - a marvellously over-inflated white elephant whose folly is its biggest appeal. For make no mistake, when LOTR pulls out the stops, it does so in such a jaw-droppingly grandiose manner, it leaves you breathless and wide-eyed, exhilarated by its sheer verve and visual audacity.

But for every moment of genuine magic and awe, there are at least three of indescribable awfulness and banality. And trust me when I say that although this show may be being billed as a musical, its lyrical interludes are so wincingly bad, I found myself forced to cower behind my hands, so embarassed was I for the cast. Yet - and this what I still can't quite grasp - when the cast is simply swept aside by the pyrotechnics of this mammoth juggernaut of theatrical ingenuity and invention (ie, the production design and special effects), it is every bit as majestic and awesome as its three cinematic sisters.

At more than three hours long, some of its scenes can feel considerably longer, but if you can forgive the acting and the roadkill of its soundtrack, you can find yourself wowed by its vision.

Because it is brave (and yes, stupid too) but then, like I said, so was the Millennium Dome. And as everyone who visited the Dome knows, it was worth the trip and entrance fee even if you couldn't understand the point of it all.

Which means LOTR is a great night out, but only so long as you're not expecting to have any kind of emotional involvement other than that experienced by a three-year-old on Christmas Day who finds the box the toy came in infinitely more interesting than the toy itself.