Review: BACK TO THE FUTURE at The Hippodrome

When Back to the Future: The Musical splashed onto the stage at the Hippodrome the other night, my first thought was, “Lordy, we made some unfortunate fashion choices in 1985.” The sprayed-up hair. The neon, skin-tight exercise gear. Trends I had mercifully erased from memory were suddenly back in retina-searing color.

Fortunately, this production offers plenty of redeeming values — and we’ll get to those. But first, let’s do the numbers (yes, I totally stole that from Marketplace on NPR).

Back to the Future was a surprise smash in the summer of 1985, ultimately grossing more than $380 million worldwide. Its stars, Michael J. Fox and Christopher Lloyd, saw their careers skyrocket. Director and co-writer Robert Zemeckis went on to collaborate with Tom Hanks on Forrest Gump, Cast Away, and several other mega-hits.

The musical had been gestating for decades before landing in London’s West End in 2021. Original screenwriter Bob Gale wrote the book, staying largely faithful to the film while expanding it just enough to justify the leap to live theatre. The result isn’t a reinvention so much as a souped-up amplification — a spectacle-driven, tech-saturated experience that, by the time the DeLorean makes its final dash, practically rattles the seats. By the end of Act II’s clock-tower sequence, it feels less like a traditional book musical and more like a high-octane theme-park attraction — the kind where lights, sound, projections, and illusion immerse you so completely you forget you’re sitting in a theatre at all.

Original film composer Alan Silvestri returns with new music and lyrics co-written with Glen Ballard. Gale, Silvestri, Ballard, and Zemeckis understood that to make the musical work, it needed to stay true to the film — but with more of everything.

And “more” is exactly what they deliver.

The creative team reads like a who’s who of theatrical wizardry. Scenic and costume design is by three-time Tony winner Tim Hatley, who conjures both the 1950s and 1980s in vivid detail. Finn Ross’s video and projection design creates special effects unlike any I’ve seen on a stage — anywhere. The DeLorean’s lighting, crafted by Hugh Vanstone and Tim Lutkin, and the illusions designed by Chris Fisher are nothing short of jaw-dropping. (Spoiler alert: they nail it.) Chris Bailey’s choreography captures both eras with style and wit.

Rather than lean into the film’s quasi-scientific grit, this production embraces big, splashy Broadway spectacle. It creates its own lane instead of coasting on nostalgia.

In case you’ve somehow missed the story since 1985, here’s the quick version:

Teenager Marty McFly is accidentally transported back to 1955 in a time-traveling DeLorean invented by eccentric scientist Doc Brown. After disrupting the first meeting of his future parents, Marty must ensure they fall in love — or risk erasing himself from existence. The climax centers on a lightning strike at Hill Valley’s clock tower, the only power source capable of sending Marty back to 1985. It’s a pulse-pounding finale blending 1950s rock energy with cutting-edge stagecraft.

You could rewatch the film on demand. But the live musical is a whole lot more fun.

Now, about this touring production at Baltimore’s Hippodrome Theatre.

I’ll be honest: Act I didn’t entirely win me over. The choreography felt a bit safe in spots, and a few performances leaned cartoonish. My husband and I briefly considered making an early exit at intermission. But we decided to stick it out.

Thank goodness we did.

Act II is electric. The energy spikes, the stakes sharpen, and the technical wizardry goes into overdrive. Even if some of the new songs didn’t immediately lodge in my brain, the cast’s sheer commitment carries the evening.

The standout in Act I is “Gotta Start Somewhere,” performed by Cartreze Tucker. It’s a foot-stomping, glitter-flinging showstopper that channels the exuberance of Some Like It Hot. Tucker’s vocals soar — those runs are astonishing — and the choreography sizzles. It’s the kind of number that reminds you why Broadway-style spectacle still thrills.

The supporting cast is uniformly strong. The ensemble is tight, vocally sharp, and fully committed. Mike Bindeman is hilarious as George McFly, leaning into the character’s awkward physicality without overplaying it. Kathryn Adeline brings warmth to Lorraine, and Nathaniel Hackmann delivers a deliciously menacing Biff.

As for the leads: David Josefsberg (Doc Brown) and Lucas Hallauer (Marty McFly) are terrific. Josefsberg embraces Doc’s eccentricity with fearless comic flair while grounding him with surprising tenderness in “For the Dreamers.” Hallauer captures Marty’s youthful swagger and vulnerability with ease — earnest, charismatic, and entirely believable, not to mention he’s so gosh-darn, gee-whiz cute.

But let’s be honest: the real star of this show is the car.

That flying DeLorean alone is worth the price of admission. For sheer spectacle, Back to the Future: The Musical is unmatched. The clock tower sequence — particularly Doc’s frantic dash up the stairs — is pure Broadway magic.

The show may not have swept the Tonys, but it has legions of fans for good reason. The Act II energy, the dazzling effects, and the powerhouse leads make for a wildly entertaining night at the theatre. And the celebratory curtain call sends audiences out on a high.

So dust off the cargo pants. Tease up that hair. And moonwalk your way to the Hippodrome.

Back to the Future: The Musical runs through March 1 at the Hippodrome Theatre, 12 North Eutaw Street, Baltimore. For tickets and information, visit the Hippodrome’s website.