Review: BACK TO THE FUTURE STRUGGLES WITH NOSTALGIA at DCPA

Television and film have always encapsulated my attention with a fervor. The imprint left by action movies from a bygone era still burn with a certain reverence. It is no secret that the culture of today seems to thrive on nostalgia which is why we see so many theatrical productions having made their way from the screen to the stage. The next nostalgia-based project coming out of New York and making its way across the country, Back to the Future the Musical, is also the most recent show to make a stop at DCPA's Buell Theater. 

Directed by John Rando, Back to the Future the Musical struggles to capture what makes the source material so great: the music by John Williams. Composer and Lyricists Alan Silvestri and Glen Ballard seem to almost work against Williams' original musical theme instead of letting it influence the new work. When music tends to hold a musical thumbprint, the onus for success as it pertains to this beloved franchise is clear, yet still missed. It was unfortunate to only hear the theme used in transition and be so different from the rest of the score. Like the music, choreography by Chris Bailey also lacks remarkability, though that could also be due to the sloppiness of the performers. There are also plenty of moments in the Book, written by Bob Gale, that fall into the category of "unnecessary." Specifically, I question why the opening number of Act 2 wasn't cut when it serves no purpose to the plot. Some of the changes made from the movie to the stage adaptation feel as if they were done for the ease of doing so and not to serve the story. And don't get me started on the poorly staged fight choreography by Maurice Chan. 

All that being said, the creative elements of the show are all top-notch. Scenic and Costume Designer Tim Hatley has done a wonderful job of setting the scenes with great use of angle, reverence, and color. His work is built upon masterfully by Lighting Designers Tim Lutkin and Hugh Vanstone, as well as Video Designer Finn Ross and Illusion Designer Chris Fisher. I am not entirely sure who to credit for the Delorian stagecraft but it cannot go without saying that it was the coolest part of the whole production. 

Performances by the cast come in a mixed bag. The ensemble struggles to stay together and perform as a unit, making the choreography seem clunky. Kiara Lee as Jennifer Parker lacks musicality in her performance, oftentimes going sharp and exhibiting an inability to blend with Caden Brauch's Marty McFly. Mike Bindeman as George McFly, in my opinion, leans too far into the movie's portrayal of his character and could do to rein it in, being mindful to leave some room for his own version to shine through. Zan Berube as Lorraine is really quite delightful in the role, taking advantage of each moment she is on stage and equipped with a solid, powerhouse voice, but never offering more than is needed for the character. 

As the illustrious Doc Brown, Don Stephenson creates an iconic version of the character all his own. Yet still, he leaves room to support the nostalgic elements of the character. He is fun, cooky, and warm in the role. Caden Brauch as Marty McFly does a fine job in the role from beginning to end. I'll say this though, the show struggles to give Marty an ironclad "issue" and therefore a resolution beyond the need to get back to his own timeline. There are hints in the right direction, however. I wish the show made more of a point to display Marty's lack of connection with his father before he goes to the past so that while he is there the bond he forms with his dad becomes more of the takeaway. None of this should take away from Brauch's performance which is solid and enjoyable. 

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