Review: BACK TO THE FUTURE - THE MUSICAL, Adelphi Theatre
Sometimes there are cultural moments that you just feel are untouchable. Certain things that are so universally loved you believe they can’t be reinvented, remade, or remotely tampered with. When the Back to the Future trilogy premiered, it became one of these moments, etched into the Hollywood halls of history, becoming universally cherished. So when they announced that the original film was to be adapted for the stage, there was obviously a lot of trepidation, and we’re here to put your mind at ease, because this is probably one of the “heaviest” film-to-stage musical adaptations we have ever seen.
Back to the Future tells the story of Marty McFly, a teenager from Hill Valley California in 1985, who mistakenly gets sent back in time when his friend Doc Brown invents a time travelling machine encased within a DeLorean car. When Marty finds himself stuck in 1955 without a means of getting home, he must enlist the help of a younger Doc Brown and hope he can make it back to the future without altering his own destiny or erasing himself from existence entirely.
One of the most astonishing things about this production is the commitment of the film’s original creative team. Coming back to ensure this adaptation is done faithfully, in a fresh and dynamic way whilst retaining the heart of the original piece, and it’s exactly what they succeed in doing. Original director Robert Zemeckis comes onboard as co-creator and producer, alongside original screenwriter Bob Gale adapting his original screenplay into the show’s book. Gale demonstrates his book-writing expertise in fine form, with it being one of the strongest ingredients of the show, retaining the classic elements of the film whilst also providing new material to expand moments and characters, allowing the cast to flourish whilst also balancing regular side-splitting humour with sincere pathos. He uses the first act to slowly get you on board before smashing you through the stratosphere after the interval.
Alan Silvestri, who composed the original score for the film, returns to pen the music and lyrics alongside music industry titan Glen Ballard. The pair have created a fun and varied score, combining high energy rock musical theatre against classical ballads. The musical styles slide intelligently between 80s and 50s, helping to ground the audience in the two alternate time frames and emphasising the anachronistic nature of the piece. Whilst at times the lyrics can seem a little predictable, they always engage and serve the moment helping to lift and further the story with ‘Put Your Mind To It’ in particular being an isolated example of a perfect section of musical theatre. Classic songs from the film are also retained whilst at the same time weaving the iconic themes and motifs from the original score into songs and underscoring, which makes for the most gratifying nostalgia when you hear it under the direction of Jim Henson’s sensational twelve-piece band.
Arguably one of the hardest things to try and emulate would be the iconic performances of the original stars, however, casting director David Grindrod has compiled a cast list of future award winners. Olly Dobson gives a terrifyingly accurate portrayal of Marty Mcfly, right down to gestures and vocal breaks that make you feel as if Michael J Fox himself is on stage. Although Dobson gives a strong impersonation, he brings a fresh energy to Marty which is uniquely his own, accompanied by a strong and controlled rock vocal. Tony award winner and Broadway and film legend Roger Bart takes on the role of eccentric scientist Doc Brown with an energy so vibrant it could probably be bottled as a renewable energy source. Bart cherry picks the greatest parts of Christopher Lloyd’s original performance, paying homage to him whilst also crafting his own Doc and elevating it to a whole new level of theatricality. Bart plays with expert humour and sensitivity in an exceptionally deft way, never knowing what he may do next but always hanging onto every word he utters, going with him no matter what. His rendition of the Act Two ballad ‘One For The Dreamers’ is a particularly touching moment of absolute stardom.
Hugh Coles gives a flawless impression of Crispin Glover’s George McFly but, like Dobson, provides a unique energy that elevates it. His physicality is like no other we’ve seen onstage before, with an expert understanding of physical, vocal and facial comedy. Incredible supporting performances from a vocally beautiful Rosanna Hyland as Lorraine Baines, Aiden Cutler’s brilliant vocal and physical performance of bully Biff Tannen and Cedric Neal as Goldie Wilson proving, yet again, that he has one of the finest voices this industry has ever heard. Although this is a very character driven show, it would be remiss of us to not mention an extraordinarily hardworking ensemble who navigate the incredibly intricate and dynamic choreography by Chris Bailey with ease. A special mention must also go to Justin Thomas who is quite possibly one of the most watchable dancers we have ever seen.
Broadway powerhouse director John Rando shows his mettle with this production, keeping the pace moving throughout the story, but always allowing the correct moments to breathe, giving permission for the actors to play with their characters and feel comfortable in their choices. He brings the film to stage so vividly and with such an understanding it feels as if he almost directed the original film, whilst also encouraging the action to unfold organically, allowing us to reinvest in these characters in a new and exciting way. The design for this show is beyond mind-blowing in its technical achievements but unlike a lot of shows who often fall prey to “flash over substance”, this production does not. The moments of extreme spectacle provided by set designer Tim Hatley, lighting designer Tim Lutkin, video designer Finn Ross, and illusion designer Chris Fisher are never created for the sake of a gimmick; they are there to assist, enhance and elevate the story and in this case, to a new theatrical plain. In the Venn Diagram of musical theatre and motion picture, what this creative team have done is place Back to the Future: The Musical in the centre, firmly creating an entire new viewing experience and potentially genre, with probably the most visually virtuosic final sequence in musical theatre history.
When life is uncertain, we engulf ourselves with the things we know and love, to provide us with comfort, joy and nostalgia. After the year we’ve had, it’s been essential to escape and especially back into the theatre which we’ve craved for so long. In our opinion, no show could be the better choice right now. Although fortunate enough to see it twice in Manchester, walking into the Adelphi last night and seeing Hatley and Lutkin’s sci-fi set sprawl into the auditorium hits you in a way you never thought possible. We squealed and hit each other in awe as we were transported back to our childhoods watching Marty McFly race a DeLorean through time, and “Great Scott!”, it’s theatrical experiences like this you simply cannot put a price on.
***** Five stars
Reviewed by: Duncan Burt
Back to the Future The Musical is currently booking until 3 July 2022. For more information and to book tickets, please click here.
