Susan Granger’s review of “Back to the Future: The Musical” (Winter Garden Theater-Broadway)
Like the original sci-fi comedy classic, the Broadway adaptation “Back to the Future: The Musical” relates how teenage Marty McFly time-travels in a jazzed-up DeLorean DMC from 1985 back to 1955, when his parents first met.
Make no mistake – the plutonium-powered sports car is the star of the show. Everything – and everyone – else pales in comparison, partially because the actors bring little or no originality to their respective characters.
As Marty, Casey Likes (“Almost Famous”) earnestly imitates Michael J. Fox’s vocal inflections, rather than claiming the role as his own, while Roger Bart embodies eccentric Doc Brown with the kind of familiar shtick he used in “The Producers” and “Young Frankenstein,” not even coming close to the zaniness of Christopher Lloyd.
At two hours, 40 minutes, it’s nearly an hour longer than the movie – but the audience seems to relish every rehashed moment, detailing Marty’s quirky chagrin as realizes how nerdy his dad, George (Hugh Coles), is/was and how overtly flirtatious his mom, Lorraine (Liana Hunt), was – back at Hill Valley High School.
Bob Gale, who wrote the original screenplay with director Robert Zemeckis, once again collaborates with the film’s composer Alan Silvestri, along with songwriter Glen Ballard (“Jagged Little Pill”), on this pop-culture phenomenon which made its theatrical debut in Manchester, England, before transferring to London’s West End, where it won the 2022 Olivier Award as Best New Musical.
According to Gale, his inspiration for the adventurous romp emanated from seeing a photo of his father in an old high-school yearbook, which is why he still regards the characters as manifestations of relationships within his own family.
Working with production designer Tim Hatley, illusionist Chris Fisher and video creator Finn Ross, director John Rando navigates the technical transfer from screen-to-stage, including the tricky clock tower sequence.
It’s all slick and serviceable, if a bit pointless since the generic songs – aside from Chuck Berry’ “The Power of Love” and Huey Lewis and the News’s “Johnny B. Goode” – are quite forgettable.
My advice: if you really love the story, stream the Universal Pictures/Amblin Entertainment movie again.