The genre of brand-extension musicals presents a unique challenge, requiring a fresh approach for newcomers while maintaining loyalty to fans. Examples like “Hairspray” have succeeded in this endeavor, while others such as “Frozen” have fallen short. “Back to the Future: The Musical,” based on the iconic time-travel film franchise, faces an additional hurdle: it relies on a star performance that seems impossible to replicate on stage. And by star, I mean the car.
Fortunately, in the Broadway adaptation of the musical, which premiered at the Winter Garden Theater, the famously modified DeLorean DMC, or a life-size replica thereof, is fantastic. In fact, it’s even more exciting than its film counterpart because all of its tricks are performed live on stage. Well, mostly live. The time-warping adventures of young Marty McFly, who travels between 1985 and 1955 in the DeLorean retrofitted by the eccentric Doc Brown, are cleverly brought to life through a combination of mechanical action, projections, and various effects like fog, lights, and sound.
Unfortunately, the rest of the show, directed by John Rando with a frenetic energy reminiscent of Doc Brown, feels mechanical, busy, and distracting. While it is a large production, it lacks the feeling of a completely new work and instead feels more like a souvenir from the film.
The musical’s book, written by Bob Gale, remains faithful to his original 1985 screenplay, with certain adjustments made to suit current stagecraft and audience tastes. The removal of the Libyans as the primary antagonists in favor of radiation poisoning is one example of these changes. Marty’s character remains the same frustrated aspiring rock ‘n’ roller stuck in a cookie-cutter 1980s California town, and when he inadvertently travels back to 1955, it jeopardizes his own existence by interfering with his parents’ courtship.
Naturally, one would expect the musical to offer a fresh take on the story through its music. However, this is not the case. The songs carried over from the film, including classics like Chuck Berry’s “Johnny B. Goode” and Huey Lewis and the News’s “The Power of Love,” are effective as ensemble numbers but offer nothing new compared to the original movie. The 17 new songs by Alan Silvestri and Glen Ballard, while tuneful and occasionally rousing, fail to differentiate themselves from the movie’s soundtrack. They, too, feel generic and do not add much to the overall experience.
There are a few exceptions to this, like the lively and inspiring song “Gotta Start Somewhere,” performed by Goldie Wilson, the janitor who goes on to become mayor 30 years later. This song captures the essence of classic musical theater, with its underdog theme and Jelani Remy’s standout performance. Similarly, “My Myopia,” the peculiar song that introduces George in 1955, adds depth to his character and cleverly addresses a plot hole in the storytelling.
Despite these bright spots, there are some visual missteps in the staging. However, Tim Hatley’s set and costume designs generally capture the essence of the film’s settings in a satisfying and theatrical way. The show also features impressive technical effects, making use of projected animations and illusions to create memorable moments, such as Doc climbing the clock tower.
While the musical tries to maintain the tone of the film, it often falls short. The characters feel exaggerated, and the performances sometimes deviate so much from the original that they feel like they belong in a different production altogether. Casey Likes, who plays Marty, does an excellent job with the material given to him, but it does not offer anything new for his character.
The fundamental question remains: why adapt a movie into a musical if the source material does not lend itself well to musical storytelling? “Back to the Future” is a pop science fiction film that resists deeper exploration and does not necessarily benefit from being a musical. With its complex plot and one-dimensional characters, the movie’s two-hour runtime was already tightly packed. To fit 17 new songs into a two-and-a-half-hour musical, sacrifices had to be made, resulting in a lack of subtlety and emotional expression.
Although the stagecraft and overall exuberance of the musical come close to compensating for these shortcomings, they are often overshadowed by outdated Broadway stylings and plot points carried over from the movie. It’s disappointing to see the show perpetuate certain problematic aspects, such as glorifying a peeping Tom and presenting a white character as the originator of a song written by a Black artist. These choices create a paradoxical and uncomfortable narrative.
Despite these flaws, the car alone is a spectacle worth witnessing. It fills a void in the Broadway experience by featuring large objects performing audience flyovers. Similar to the iconic chandelier in “The Phantom of the Opera,” the car adds a captivating element that will continue to draw audiences for years to come.
In conclusion, “Back to the Future: The Musical” struggles to rise above the challenges of adapting a beloved film into a successful musical. While it excels in some areas, such as its technical achievements and energetic atmosphere, it falls short in terms of originality and depth. The material’s inherent limitations hinder the production from truly shining on stage.
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