Reviewed by Judd Hollander
The Broadway graveyard is filled with musical
efforts that sprang from movies. Groundhog
Day, Mrs. Doubtfire, Rocky and Pretty
Woman among some of the more recent internees. While it’s too early to
consign Back to the Future: The Musical, based on
the hit 1985 film of the same name, to the same fate, it may soon be headed in
that direction. This despite some pretty strong special effects. As well as a
very appealing lead performance.
It’s 1985 in Hill Valley, California and high school student Marty McFly (Casey Likes),
whose rock-n-roll band just failed their latest audition, is terrified of
ending up like his family. His mother Lorraine (Liana Hunt) is an alcoholic; his older brother and
sister (Daryl Tofa, Amber Ardolino) have lives on the fast track to nowhere;
and his father George (Hugh Coles) is a beaten-down milquetoast who is
terrified of confrontation. George is also is constantly harassed by his former
high school nemesis Biff Tannen (Nathaniel Hackman), who is now his supervisor
at work.
One evening Marty’s friend Doc Brown (Roger
Bart), the town crackpot, announces he has invented a time machine and wants
Mary to document an upcoming test run. Doc intends to use the machine himself,
which he has built inside a DeLorean. However before he can start on his
journey, Doc collapses due to exposure to plutonium. The element used to power
the vehicle. In a panic, Marty jumps into the DeLorean to go for help, but once
the car reaches 88 miles an hour, the time circuits activate and send Marty
thirty years in the past.
Shortly after his arrival in 1955 Hill Valley, and while searching for the Doc Brown of that time,
Marty encounters his parents as teenagers. He also inadvertently interferes
with their first meeting. One which initially kindled their romantic feelings
for each other. Now before he can attempt to return to his own time, Marty has
to get his parents to fall in love. Otherwise, neither he nor his siblings will
ever be born. Matters become even more complicated when Lorraine starts having romantic feeling for Marty. Much to the
fury of the overbearing Biff, who sees Lorraine as his personal girlfriend. Even though Lorraine wants nothing to do with him.
(L-R, top row) Victoria Byrd, Jonalyn Saxer, Becca Peterson. (L-R, bottom row) Casey Likes, Liana Hunt in Back to the Future: The Musical. Photo Credit: Matthew Murphy and Evan Zimmerman (2023)
There is certainly enough material here for a
stage adaptation. The core idea of the show being how one small event can
change the future forever. Tied in with this is the importance of never settling
when it comes to what's really important in life. Be it deciding to run for
political office or choosing to stand up for someone you care about.
Unfortunately in transferring the story to a new
medium, the creative team, which includes Bob Gale as the bookwriter, who also
co-wrote the script for the original film, all seem to have forgotten an important
step in the process. That being, to make sure the new property is different
enough from the original to warrant its creation in the first place. Yet what ends
up on stage feels more like a tired retread. With many scenes and dialogue
copied almost beat for beat.
It doesn’t help that the creators have also
forgotten the “less is more” principle. Specifically as it applies to the
characters of Doc Brown and George McFly.
Doc, played by the usually reliable Bart, is so
over the top in both eras, there’s no real character development or backstory for
the audience to latch onto. Here, he fritters to and fro and rarely varies his
vocal cadence. Even worse, Bart’s verbal interactions with Likes often mimic
the Burns and Schreiber “taxicab” routine. The only time Doc becomes anything
more than a caricature is when Bart sings “For the Dreamers”. A quiet ballad
which offers a fleeting glimpse behind his fast-talking facade as he realizes
that finally, he has a chance to be something more than a laughingstock.
The character of George has similar problems. A
hapless sad sack with no confidence whatsoever, Marty must try to teach him to
stand up for himself. However George’s laugh, facial tics, hand gestures and
efforts to try to follow Marty’s advice are so exaggerated, they quickly become
annoying. This is a case of someone trying too hard to be funny and instead
becoming painful to watch. As with Doc, George’s portrayal would have worked
far better if we were given some history on the character as to why he is the
way he is.
Another issue is that the score by Alan
Silvestri and Glen Ballard is not all that memorable. The strongest numbers in
the musical ones that were in the original film. Additionally, the first act
finale just falls apart, instead of giving the audience a reason to return for
act two. One of the few new numbers to really stand out is “Gotta Start
Somewhere”, which boasts a very strong performance by Jelani Remy as Goldie
Wilson.
Jelani Remy and the cast of Back to the Future: The Musical. Photo Credit: Matthew Murphy and Evan Zimmerman (2023)
Likes does quite well in the lead role, coming
across as a beleaguered sort who you don’t mind spending time with. He also
looks alternatively terrified and frustrated as he tries to fit into 1955 Hill Valley, while continually trying to dodge Lorraine’s evermore amorous advances. Additionally, he nicely
put across all of the songs he is tasked with. Including a killer rendition of
“Johnnie B. Goode”. Other good performances include Mikaela Secada as Marty’s
girlfriend, Hunt as Lorraine and Remy as both Goldie Wilson and Marvin Berry.
John Rando’s direction is uneven. He’s on point
when it comes to the more dramatic moments, but his efforts fall flat when it
comes to the comedy. Attempt at which feel awkward, uncomfortable, and
continually distract from the stronger elements in the story.
The one especially strong aspect in the show are
the special effects, Especially when it comes to having a full-size car appear
to travel 88 miles an hour on a Broadway stage. Designer Tim Hatley and the
rest of the team also come up with a finale that is superb. Sadly, these final moments
don’t make up for all of the pitfalls that have come before. Indeed, it would
be great if the DeLorean really did allow one to travel through time. That way,
Gale, Rando, et. al., could have gone back to the beginning of the creative
process and this time, tried to get it right.
Featuring: Casey Likes (Marty McFly), Jelani
Remy (Goldie Wilson/Marvin Berry), Merritt David Janes (Principal
Strickland/Lou Carruthers/Mayor Red Thomas/Sam Baines), Mikaela Secada
(Jennifer Parker), Nathaniel Hackman (Biff Tannen), Hugh Coles (George McFly),
Daryl Tofa (Dave McFly/Slick), Amber Ardolino (Linda McFly/Stella Baines),
Liana Hunt (Lorraine Baines), Roger Bart (Doc Brown), Victoria Byrd
(Betty/Pretty Baby Trio), Becca Petersen (Babs/Pretty Baby Trio), Will Branner
(3D), Jonalyn Saxer (Clocktower Woman/Pretty Baby Trio), Nick Drake (Reginald
(Starlighter #1)), Kevin Curtis (Starlighter #2), Joshua Kenneth Allan Johnson
(Starlighter #3)
Ensemble: Amber Ardolino, Will Branner, Victoria
Byrd, Brendan Chan, Kevin Curtis, Nick Drake, Marc Heitzman, Merritt David
Janes, Hannah Kevitt, JJ Niemann, Becca Peterson, Emma Pittman, Jonalyn Saxer,
Mikaela Secada, Daryl Tofa
Back to the Future: The Musical
Book by Bob Gale
Music & Lyrics by Alan Silvestri & Glen
Ballard
Based on the Universal Pictures/Amblin
Entertainment film
Written by Robert Zemeckis & Bob Gale
Fight Director: Maurice Chan
Wigs, Hair and Make-Up: Campell Young Associates
Musical Supervisor: Vocal & Music
Arrangements: Nick Finlow
Music Director: Ted Arthur
Orchestrations: Ethan Popp & Bryan Crook
Dance Arrangements: David Chase
Sound Designer: Gareth Owen
Lighting Designers: Tim Lutkin & Hugh
Vanstone
Video Director: Finn Ross
Illusion Designer: Chris Fisher
Choreographer: Chris Bailey
Designer: Tim Hatley
Directed by John Rando
Winter Garden Theatre
1634 Broadway
Tickets; 212-239-6200, www.telecharge.com
Information: www.backtothefuturemusical.com
Running Time: 2 hours, 35 minutes, with one
intermission
Open Run
