Joe Papp, the famed founder of New York City’s Public Theater, long believed in the value of theater as a democracy that could bring people together. Back to the Future: The Musical fulfills that vision; it is a 150-minute nostalgia trip, now on a national tour, that fills the Kennedy Center’s Opera House with young and old. Yet the show, while fun and unflinchingly loyal to the eponymous 1985 film, is not good theater.
This musical, with a book by Bob Gale (who co-wrote the movie), mirrors the plot from the classic film: The scientist Emmett “Doc” Brown invents a time machine made from a DeLorean, which he unveils to his young friend Marty McFly. Marty travels back in time to 1955 to protect Doc, where he also inadvertently threatens his future by encountering his parents and not being able to leave. But with the help of an auspiciously timed thunderstorm, Marty is able to generate the electricity to facilitate his travel and restore his future.
Gale injects a few changes into the story on stage, which are mainly inconsequential. The vision for this production is that the story and script remain eminently recognizable to fans of the movie; there are many “Great Scott!”s out of Doc and things are definitely still “heavy” for Marty roughly 40 years after this story was first told.
Director John Rando crafts a night full of theatrical comfort food, from the familiar red vest of Marty (newcomer Caden Brauch), down to the mannerisms and vocal affect of George McFly (a spot-on Burke Swanson). Biff Tannen (Ethan Rogers) still questions “Is Anybody Home?” while beating up on a young George. And as the show crescendos, we still get scenes like Marty rocking out on a guitar and the famous knockout punch from George to protect Lorraine, all coupled with the dramatic music from Alan Silvestri’s 1984 score. These familiar moments still resonate, excite, and unify the audience.
The problem then, with Back to the Future, is that we are watching theater. This musical has 17 new songs by Glen Ballard (of Jagged Little Pill), and while Chris Bailey’s choreography keeps your eyes darting around the stage, the energetic dancing cannot hide that these tunes are unmemorable and bland, with few exceptions (such as the rousing “Gotta Start Somewhere,” featuring Cartreze Tucker as Goldie Wilson). The first act opener, “It’s a Matter of Time,” does not have the gusto and vocal dynamics to get audiences revved up. And the second act begins with “21st Century,” an odd dream sequence, which features Doc and an ensemble of a dozen white-coated actors dancing with mind-reading helmets on their heads.
The show’s sets, designed by Tim Hatley, are few and far between; places like the houses of Doc Brown and the McFlys are authentic and filled with wonderful and period-appropriate knick- knacks. Back to the Future, instead, leans heavily on Finn Ross’ video design to capture places like the Enchantment Under the Sea Dance (where George and Lorraine launch their love story) and the barn where Marty crashes the DeLorean. It is that video design, coupled with Chris Fisher’s illusions, that bring us the star of the show…the car!
That car is really the reason to see Back to the Future. The acting is fine, but our region has an embarrassment of riches when it comes to talented folks on stage; there is no standout performance here akin to Rob McClure’s undeniably charismatic turn in Broadway at The National’s recent touring production of Mrs. Doubtfire. The music is nothing memorable. What is undeniably awesome is the DeLorean.
Hatley has created an authentic DeLorean that fits and moves on stage. It sits between an LED wall Ross has created in the back of the stage and a scrim curtain in the front, twisting and turning and flying (!) in the eyes of the audience. The DeLorean brings out the best of Back to the Future; it pairs the familiarity of the movie with the advancements of the present to create a jaw-droppingly awesome effect. In short, it’s not a movie; it appears real and is not something ever seen before on stage.
Musicals of movies are not a new concept, and they will continue. They exist not because the theater community is “out of ideas” or because of the undeniably high cost of production; instead, they have a place in the theatrical ecosystem because they can bring people together, often without a particular ethos, thus serving a critically important role in an art form that needs new and different audiences.
And when done right, like Julie Taymor’s legendary The Lion King, the name recognition of movie musicals not only draws in an audience; it keeps theatergoers coming for generations. Back to the Future will not have that path. But for 150 minutes, it is a fun and often silly night out at the theater. And what an amazing car.
Running Time: Two hours and 30 minutes, including one 15-minute intermission.
Back to the Future: The Musical on North American tour plays through August 11, 2024, in the Opera House at the Kennedy Center, 2700 F Street, NW, Washington, DC. Tickets ($39–$209) can be purchased at the box office, online, or by calling (202) 467-4600 or toll-free at (800) 444-1324. Box office hours are Monday-Saturday, 10 am-9 pm, and Sunday 12pm-9 pm. A limited number of $39 rush tickets are available for each performance at the Box Office (two max per person).
The program for Back to the Future: The Musical is online here.
COVID Safety:Masks are optional in all Kennedy Center spaces for visitors and staff. If you prefer to wear a mask, you are welcome to do so. See Kennedy Center’s complete COVID Safety Planhere.
