‘Back to the Future: The Musical’ Will Delight Movie Fans — but Few Others
Erin Strecker
Good news for people who grew up delighting in the weirdo charms of Marty McFly and the DeLorean: The new, two-and-a-half-hour “Back to the Future” musical — which officially opened on Broadway Thursday night — is an incredibly faithful retelling of the 1985 movie, down to classic lines (“My dad’s a peeping Tom!”) and awkward as hell relationship drama.
As for everyone else? Well, that’s where the trouble begins in this musical that, for better or worse, often feels more like an amusement park experience than an art production. The thrill ride even begins before the show officially starts, with the whole outer stage and wings set up to look like an ‘80s video game, with scrolling neon lights and mechanical sounds.
Written by Bob Gale (who originally co-wrote the film), the plot is exactly the one you remember. Everyday teenage boy Marty McFly (Casey Likes, charmingly earnest) accidentally goes back in time 30 years, thanks to help from a mad scientist, Doc Brown (Roger Bart, delightful). Marty must then help his now-teenage parents fall in love so that he and his siblings don’t wind up erased in the future. Oh, and also his teen-aged mom has a big ol’ crush on him!
The only plot point that is smartly updated involves Doc Brown who, in the Robert Zemeckis movie, is shot by terrorists moments before Marty heads to 1955. Here, it’s nuclear radiation poisoning that threatens Doc’s life in 1985, which makes more sense and also nicely dodges any character having to yell about “Libyan terrorists.”
All other original awkwardness, however, remains: It’s a weird story. The actors make the best of things — particularly a warmly hilarious Hugh Coles as Marty’s awkward dad George — but the various plot points are going to be a hurdle for anyone that doesn’t already adore the film franchise. When a teenage version of Marty’s mom Lorraine finds Marty in her bed, she sings an original song, “Pretty Baby,” a doo-wop ‘50s number with lyrics like, “Did you come to save me/ My pretty baby/ Oh how you drive me crazy.” It’s played for silly laughs, but an already uncomfortable scene in a film takes on an even odder feel when it’s playing out right in front of you.
The bigger oddity — and the main issue — is that beyond a faithful retelling of the story, there just isn’t a reason for this to exist. The songs, by geniuses Glen Ballard and Alan Silvestri, are serviceable, but unfortunately not a one is memorable. That’s a problem if the goal is making something that can stand on its own, a la gold standard musical adaptations of movies such as “Legally Blonde.” The show, and director John Rando, try various musical tricks to see what sticks — we’ve got eye-popping colors, guitar riffs, belting solos, and more — but none add any depth to the story. It’s all dialed up to 10 for essentially the entire running time, but the production often struggles to generate any feeling beyond a surface level “Yes, I’m watching a movie I enjoy play out on stage.” There’s a tricked out car where an emotional core should be.
I imagine fans won’t care much: That car is really cool. The set and special effects, including those by “illusion designer” Chris Fisher, are far and away the best part, and during high points, the sheer spectacle is sure to earn some whoas when one is confronted with all its in-your-face glory. We’ve got bubbles raining down on the audience during the dance scene! A giant, tricked out car taking literal flight! The climactic moment at the clock tower? It’s fun to see how that is interpreted with full Broadway special effects heft — including digital projections that give major theme park vibes.
And it feels fair to note that while I wasn’t always ready to blast off, many clearly were. Several people in the sold-out crowd absolutely lost their minds in delight both before the show began (a woman down the street prior to curtain told this reporter she’d traveled from Florida with her family solely to see the show) as well as throughout, when iconic set pieces like the decked-out DeLorean or Doc Brown’s lab first appear.
So, no, it’s not going to go down in history as a great musical, but by the time everyone is grooving to a high-energy “The Power of Love,” it feels easier to just climb aboard. It’s not great art, but it’s a pretty fun ride.
Grade: B-
“Back to the Future: The Musical” is now playing on Broadway at the Winter Garden Theater. The film is currently streaming on Prime Video.
