Tim Hatley’s stunning, multi-dimensional design, combined with lighting, projection, sound and hydraulics propels this musical into a live entertainment runaway triumph.
DECEMBER 26—COSTA MESA
Based on the 1985 blockbuster of the same name. irrepressible teen hero Marty McFly is a typical mid-1980s high school student, playing his guitar, crushing on his girlfriend, wondering what’s up with his wacky family, or just chillin' out with his eccentric pal, the scientist Emmett “Doc” Brown.
The show opens with Marty visiting Doc’s empty lab, where he rocks out on an inadvisably over-amped ukulele. Then he goes and auditions for a talent contest, hangs out with his girlfriend Jennifer, talks to a crazy lady from the clock tower preservation society, hangs out with his loser family… and takes a trip 30 years into the past in Doc’s time-travelling DeLorean car, where he becomes embroiled in a complicated love triangle with his mum and dad.
It is, in other words, the same as the film, with only a few minor plot changes (the whole thing about Doc getting on the wrong side of some Libyan terrorists and getting shot is the most obvious and — let’s be honest — sensible casualty). Oh, by the way, there’s also no Einstein. No, not him. I’m talking about Doc Brown’s dog, or rather, the lack thereof. But that’s about the only plot twists. Everything else sticks like glue to the movie.
Winner of the 2022 Olivier Award for Best New Musical, four WhatsOnStage Awards, including Best New Musical, and the Broadway World Award for Best New Musical, BACK TO THE FUTURE: THE MUSICAL, now playing at Segerstrom Center for the Arts through January 5th, is adapted for the stage by the iconic film’s creators Bob Gale (“Back to the Future” trilogy) and Robert Zemeckis (“Forrest Gump”) and directed by the Tony Award®-winner John Rando with original music by multi-Grammy® winners Alan Silvestri (“Avengers: Endgame”) and Glen Ballard (Michael Jackson’s “Man in the Mirror”), alongside hit songs from the movie including “The Power of Love,” “Johnny B. Goode,” “Earth Angel,” and “Back in Time.”
This long-gestating musical version of BACK TO THE FUTURE (it has literally taken longer to bring to the stage than all three films took to make) has every scene drenched in song, dance, wild fantasy asides, fourth-wall-breaking irony and other assorted shtick. It is an absolutely electrifying show performed at lulzworthy velocity.
But the means by which Rando’s production goes about telling the story is quite different. Every scene is a showstopper, bedaubed with backing dancers and ever-changing, retina-searing sets. It’s a relentless rush, with almost no breathing space, and it feels heavily predicated on the idea that you already know Marty from the film, where his character is eased in far more gradually.
The musical’s dogged exposition in keeping intact with the film, often with identical dialogue and props, initially suggests an evening in thrall to the original. Almost every cast member is a doppelganger, complete with every move and mannerism of their movie counterpart. And, even before the lights go down, it’s clear that this production is intent on making spectacle respectable, with giant LED display panels rising up from above the proscenium and out and across the walls of the orchestra.
Tim Hatley’s masterful re-construction of the firing-on-all-cylinders (and then some) DeLorean is shockingly exciting as it revs, races, lifts off, and gives almost as much backchat to Marty as Knight Rider’s sassy Kitt. Harnessing the flow of Mr. Hatley’s physical set-pieces, Finn Ross’s fleet, flashing video and projections, Tim Lutkin’s masterful firework of illuminations and Gareth Owen’s explosive sound design (encompassing everything from dynamic strings to Alan Silvestri’s movie score), John Rando’s production employs every element and, as the vehicle hits the crucial 88mph, zaps the audience between the eyes and ears to a roar of delight, soaring into the auditorium with the most dazzling illusion of depth that reaches the back of the theater as well.
Caden Brauch is not only a ball of energy in the lead role, but he can also sing too (“Johnny B. Goode”). His resemblance to Michael J Fox, of course, was a major factor in the part. Actually, if you squinted hard it was almost like seeing double. And when he got excited, there was that same raspy, shrieking teenage voice. A perfect choice!
By contrast, if we’re talking ’80s icons, then Don Stephenson’s bearish, whimsical Doc ("For the Dreamers;" "21st Century") is perhaps a vibe closer to the amiable Dan Aykroyd than the intense Christopher Lloyd. He and Mr. Brauch’s Marty have a slightly different chemistry to their film counterparts, with a sort of knockabout Hope-Crosby double-act-style thing going on. There is a running joke about them being able to see the backing dancers, which is funny, but the knowing meta japery feels just a little off-track. The story, however, is an extremely enjoyable romp, with chuckles aplenty; the stagecraft is definitely a wow, especially with regards to the DeLorean. The climactic clock tower sequence, set in a lightning storm, is also pretty darn special.
Cartreze Tucker is also fantastic as Goldie Wilson. His performance of “Gotta Start Somewhere” is a crowd pleasing hit. A multifunctional Luke Antony Neville also nails it as the school principal and/or Mayor Red Thomas. Loved his vocals at Mega Monster Mountain.
And Will Jewett and Fisher Lane Stewart give solid support as Biff's minions, 3D and Slick.
Kiara Lee's Jennifer is the always positive and totally supportive girlfriend of Marty, and later his wife ("Wherever We're Going" - Marty/Jennifer). And Marvin Berry ("Deep Diving") and The Starlighters really rocked the house too.
Burke Swanson’s George McFly replicates perfectly the look, gestures and quirks of his original, Crispin Glover, in a very funny role, looking also a lot (at least to me) like Golden Glober Matthew Modine. And Marty’s mother, Lorraine (played by a come-hither Zan Berube), and the school bully, Biff (Ethan Rogers; “Teach Him a Lesson”), both come through with zingy portrayals and faultless incarnations. Their act one ender, “Something About That Boy,” is a gas! (no pun intended) …”Oh, you weren't kidding, Lorraine! Where did he come from? Where does he live? I don't know but I'm gonna find out... Calvin Klein, I'm gonna make you mine!” And that's really the nuts and bolts of the show.
SEGERSTROM CENTER FOR THE ARTS PRESENTS, 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; Directed by John Rando; Choreography by Chris Bailey; Designed by Tim Hatley; Sound Design by Gareth Owen; Lighting Design by Tim Lutkin & Hugh Vanstone; Video Design by Finn Ross; Illusion Design by Chris Fisher; Music Director Matt Doebler; Musical Supervisor/Vocal & Music Arrangements by Nick Finlow; Orchestrations by Ethan Popp & Bryan Crook; Dance Arrangements by David Chase; Wigs/Hair & Make-Up by Campbell Young Associates; Fight Direction by Maurice Chan; Production Stage Manager Eric Sprosty. Scenery and scenic effects built, painted and electrified by Show Motion Inc. Milford, CT. Additional scenery provided by Tom Carroll Scenery and Empire Technical Fabrication. Automation and show control by Show Motion Inc. Milford, CT, using the AC3 Computerized Motion Control System. Sound equipment by Sound Associates. Lighting equipment by Christie Lites. Video equipment by PRG.
Starring: Marty McFly: Caden Brauch; Goldie Wilson/Marvin Berry: Cartreze Tucker; Principal Strickland/Lou Carruthers/Mayor Red Thomas/Sam Baines: Luke Antony Neville; Jennifer Parker: Kiara Lee; Biff Tannen: Ethan Rogers; George McFly: Burke Swanson; Dave McFly/Slick: Fisher Lane Stewart; Linda McFly/Stella Baines: Laura Sky Herman; Lorraine Baines: Zan Berube; Doc Brown: Don Stephenson; Betty: Zoe Brooke Reed; Babs: Alyssa Carol; 3D: Will Jewett; Clocktower Woman: Jenny Dalrymple; Pretty Baby Trio: Ina Black, Alyssa Carol, Zoe Brooke Reed; Reginald (Starlighter 1): Joshua Blackswan Abbott; Starlighter 2: Dwayne P. Mitchell.
Ensemble: Joshua Blackswan Abbott, Ina Black, Luther Brooks IV, Alyssa Carol, Jenny Dalrymple, Laura Sky Herman, Dan Horn, Will Jewett, Kiara Lee, Dwayne P. Mitchell, Zoe Brooke Reed, Fisher Lane Stewart.
Swings: Emily Applebaum, Brittany Bohn, Lucas Hallauer, Dwayne P. Mitchell, Michael Seltzer, Ross Thompson.
Dance Captain—Brittany Bohn; Assistant Dance Captain—Dwayne P. Mitchell; Fight Captain—Dwayne P. Mitchell.
Understudies: For Doc Brown—Luke Antony Neville, Ross Thompson; for Marty McFly—Lucas Hallauer, Fisher Lane Stewart; for George McFly—Will Jewett; for Lorraine Baines—Alyssa Carol, Laura Sky Herman; for Goldie Wilson/Marvin Berry—Joshua Blackswan Abbott, Dwayne P. Mitchell; for Biff Tannen—Dan Horn, Will Jewett; for Principal Strickland/Lou Carruthers/Mayor Red Thomas/Sam Baines—Lucas Hallauer, Ross Thompson; for Jennifer Parker—Ina Black, Zoe Brooke Reed; for 3D— Luther Brooks IV.
The Band: Music Director/Keys 1—Matt Doebler; Associate Music Director/Keys 2—Emily Orr; Drums—Jaren Angud; Reed 1—William Leary; Music Coordinator—Kristy Norter
Local Musicians: Reed 2: Phil Feather; Trumpet/Flugelhorn: Chris Eble; Trombone/Bass Trombone: Nick Daley; Guitar: Justin Smith; Bass: Tim Christensen; Keyboard substitue: John Sawoski; Local Musician Contractor: Jay Mason.
BACK TO THE FUTURE, THE MUSICAL plays from December 26th through January 5th in Segerstrom Hall, Thursday 12/26 at 2 & 7:30 pm; Fridays 12/27 & 1/3 at 7:30 pm; Saturdays 12/28 & 1/4 at 2 & 7:30 pm; Sundays 12/29 & 15 at 1 pm & 6:30 pm; Monday 12/30 at 6:30 pm; Wednesday 1/1 at 2 & 7:30 pm; Thursday 1/2 at 7:30 pm. Each ticket includes a free Back to the Future commemorative poster. Runtime is 2 hours and 40 minutes with one intermission. For Tickets and further information, contact www.scfta.org
Chris Daniels
Arts & Entertainment Reviewer
The Show Report
Photo Credits: Matthew Murphy and Evan Zimmerman
Comments