Back to the Future: The Musical Touring Reviews

Yes, there was some carping that “the score [which contains such quickly forgettable songs as “Got No Future,” “Cake,” “Something About the Boy” and “For the Dreamers”] was mainly superfluous,” but audiences don’t seem to mind. ...

Yes, there was some carping that “the score [which contains such quickly forgettable songs as “Got No Future,” “Cake,” “Something About the Boy” and “For the Dreamers”] was mainly superfluous,” but audiences don’t seem to mind. In fact, if the assemblage at the Key Bank State Theatre the night I saw the touring show is any indicator, the musical will also become a cult favorite as it tours the hinterlands.

The worst thing you can do is come to “Back to the Future: The Musical” and expect the movie. The differences — big and small — could drive longtime fans of the 1985 blockbuster crazy. Michael J. Fox and Christopher Lloyd aren’t walking th...

The worst thing you can do is come to “Back to the Future: The Musical” and expect the movie. The differences — big and small — could drive longtime fans of the 1985 blockbuster crazy. Michael J. Fox and Christopher Lloyd aren’t walking through the door at the KeyBank State Theatre anytime soon either.

In this stage iteration directed by John Rando, Caden Brauch plays Marty as if he's a minor character who surprisingly found himself with a lot of lines to read. His stage presence is minimal, and his singing and acting are no more than okay. But wha...

In this stage iteration directed by John Rando, Caden Brauch plays Marty as if he's a minor character who surprisingly found himself with a lot of lines to read. His stage presence is minimal, and his singing and acting are no more than okay. But what's missing is the goofy charm that makes his character relatable. When he finds himself in the bedroom of high schooler Lorraine (Zan Berube), the exquisite strangeness of a teen being hit on by his own mom, now young as himself, is not played to maximum effect.

Where the show tends to stall is during the long list of musical numbers, all performed well, but many feeling a bit unnecessary and unmemorable. It is certainly not due to a lack of creativity. This is not Grammy-winners Alan Silvestri and Glen Ball...

Where the show tends to stall is during the long list of musical numbers, all performed well, but many feeling a bit unnecessary and unmemorable. It is certainly not due to a lack of creativity. This is not Grammy-winners Alan Silvestri and Glen Ballard’s first rodeo. But it might be the fact that the story simply does not need 21 songs and four reprises to be “rad.” It just needs a strong cast, a script that every Gen Xer can quote from top to bottom and totally tubular special effects that appeal to the kid in all of us. And this production has all of the above.

Caden Brauch makes a sturdy Marty. He's a fine comic actor and triple threat who should just keep fine-tuning his duckwalk in order to make it really goode, if you know what I'm sayin'. Don Stephenson's Doc is sensational. He underplays like an old v...

Caden Brauch makes a sturdy Marty. He's a fine comic actor and triple threat who should just keep fine-tuning his duckwalk in order to make it really goode, if you know what I'm sayin'. Don Stephenson's Doc is sensational. He underplays like an old vaudevillian, and he has mastered the very hard art of throwing lines and bits away. (Best one: When Marty asks him who the girls are who suddenly arrive to sing and dance behind their number, Doc shrugs, "They just show up when I start singing.") He's got the three best songs in the show (Music and Lyrics by Alan Silvestri, who wrote the scores for all three BTTF films, and Glen Ballard): "It Works," (the DeLorean, of course), "21st Century," in which Doc dreams what he might see in the future--The Doctor would like that Doc dreams of The Tardis, and a lovely ballad "For the Dreamers," sung with mostly solo piano which provides some Act II auditory respite from the onslaught of the overly loud rest of the show. And Stephenson never never never pretends that he's Christopher Lloyd; Doc belongs to him, and a good time is had by all.

The uneasy musical blend is characteristic of the show itself, which, like the town of Hill Valley’s clock tower, finds itself weirdly stuck in time, trying to please generations of fans while simultaneously making something “new.” You can see ...

The uneasy musical blend is characteristic of the show itself, which, like the town of Hill Valley’s clock tower, finds itself weirdly stuck in time, trying to please generations of fans while simultaneously making something “new.” You can see it in how the writers try to hit the funny bone. Jokes that landed in the ’80s—when 1950s Doc learns that the future president is “Ronald Reagan, the actor,” for example—are still there, but are now especially dated considering that future came and went some 40 years ago. (It also seems quaint considering the caliber of celebrity we’ve had in the White House since.) On the other end of the spectrum efforts are strained to make the piece ironically contemporary, as when Doc Brown returns from the year 2020 heralding a world with no war, no hunger, and (wait for it) no disease. Cue groans from last Thursday night’s crowd.

The entire cast has developed a mastery of their roles that comes across effortlessly. Caden Brauch and Burke Swanson, as Marty and George McFly respectively, are perfect foils to the bullies portrayed by Ethan Rogers as Biff Tannen and Luke Anthony ...

The entire cast has developed a mastery of their roles that comes across effortlessly. Caden Brauch and Burke Swanson, as Marty and George McFly respectively, are perfect foils to the bullies portrayed by Ethan Rogers as Biff Tannen and Luke Anthony Neville as Principal Strickland. Swanson’s character who “doesn’t have a spine” excels in both acting and dancing like a flailing inflatable tube man often seen outside auto dealerships. He, along with Zan Berube as Lorraine Baines, own the nuances in their character transitions over the course of the musical and attest to their versatility. As Doc Brown, Don Stephenson excels in portraying the mad scientist archetype, except that he is genuinely likable and inspirational. His performance effectively keeps us on edge, particularly during the climactic race to the clock tower. He climbs a series of projected steps with the finesse of a video game character, and at the top, he convincingly makes us believe he is clinging to the rim for dear life.

Hard-core BACK TO THE FUTURE fans will definitely enjoy the visuals — Marty and his scientist friend Doc Brown have their quintessential adventures in a souped-up DeLorean from set designer Tim Hatley; Finn Ross’s video designs help give the illu...

Hard-core BACK TO THE FUTURE fans will definitely enjoy the visuals — Marty and his scientist friend Doc Brown have their quintessential adventures in a souped-up DeLorean from set designer Tim Hatley; Finn Ross’s video designs help give the illusion of Marty time traveling at the iconic 88 miles per hour. Marty travels back from 1985 to 1955; when he accidentally interferes with his parents’ meeting, he must find a way to bring them together — or erase himself and his siblings Dan and Linda from existence. Likewise, Marty knows he must return back to 1985 so he can save Doc from plutonium poisoning. While Marty calls his situation “heavy,” it’s all in good fun.

The performances are admirable but in virtually every case imitations of the caricatures in the film rather than the performers being allowed to develop their own characterizations. The real star of the show, however, is the DeLorean, which dazzle...

The performances are admirable but in virtually every case imitations of the caricatures in the film rather than the performers being allowed to develop their own characterizations. The real star of the show, however, is the DeLorean, which dazzles much like when chandeliers and helicopters once reigned on Broadway.

It’s fair to say that the success relies completely on longtime devotees of the films and the kids they bring with them, because this musical works only as fan service. For the critical — hey, it’s my job — there’s more pleasure to be had a...

It’s fair to say that the success relies completely on longtime devotees of the films and the kids they bring with them, because this musical works only as fan service. For the critical — hey, it’s my job — there’s more pleasure to be had appreciating the nostalgia-driven joy of the audience than there is in what’s on stage, which is all frantic adrenaline.

Still, the show seems like a lot of fun to perform. The cast buzzes with energy. For example, Burke Swanson plays George McFly, Marty’s nerdy father. His physical comedy is that of a master clown — in one scene he gets entangled with a broom, lea...

Still, the show seems like a lot of fun to perform. The cast buzzes with energy. For example, Burke Swanson plays George McFly, Marty’s nerdy father. His physical comedy is that of a master clown — in one scene he gets entangled with a broom, leading to a Rowan Atkinson-style routine.

Casting for this national tour could not be more spot on. From the leading characters to the supporting roles to the ensemble, every person on stage plays their part to near perfection. The dedication to the storytelling makes for an unforgettable ev...

Casting for this national tour could not be more spot on. From the leading characters to the supporting roles to the ensemble, every person on stage plays their part to near perfection. The dedication to the storytelling makes for an unforgettable evening of music, laughter and (in some regards) technical magic.

When thinking about the cast, there are two characters that people's minds go instantly to: Marty McFly and Doc Brown. The roles were played by Caden Brauch and Don Stephenson, respectively, on opening night. Caden does an excellent job of finding t...

When thinking about the cast, there are two characters that people's minds go instantly to: Marty McFly and Doc Brown. The roles were played by Caden Brauch and Don Stephenson, respectively, on opening night. Caden does an excellent job of finding the moments we all expect to see out of Marty McFly while finding moments that he can make the character his own. One example of this is during "Johnny B Goode." We get to see him do some of the iconic moves from the movie, but it doesn't feel like he is replicating what was done in the film.

About those songs: they’re more serviceable than exciting. Silvestri and Ballard have cinematic and pop credit to burn, and there would be no JAGGED LITTLE PILL (album or musical) without Ballard, but apart from future Mayor Goldie Wilson (Cartreze...

About those songs: they’re more serviceable than exciting. Silvestri and Ballard have cinematic and pop credit to burn, and there would be no JAGGED LITTLE PILL (album or musical) without Ballard, but apart from future Mayor Goldie Wilson (Cartreze Tucker) laying into “Gotta Start Somewhere” and, later Doc Brown’s ode to the power of science “This One’s for the Dreamers,” when music director Matt Doebler’s orchestra kicks in, we’re just marking time waiting for, yup again, “Johnny B Goode” and the Huey Lewis-sung favorites from the movie. Thankfully, we get them. And the composers have given that familiar riff from the film an accompanying lyric: “It’s on-ly a mat-ter of time.”

But for anyone who truly loves theater, or film, or understands why they are separate art forms to begin with, the production is somewhat unsettling. In a time where it feels increasingly difficult to push original stories forward, this adaptation �...

But for anyone who truly loves theater, or film, or understands why they are separate art forms to begin with, the production is somewhat unsettling. In a time where it feels increasingly difficult to push original stories forward, this adaptation – and its estimated $23.5 million budget – do not alleviate the struggle. It is hard to believe it was created by artists with a real passion for musical theater, as evidenced by its prioritization of sensational effects over thoughtful writing. Nonetheless, its producers have no obligation to save the integrity of performing arts. So, if they wanted to unite fans of a 1980s classic, they did their job well.

OK, so the music is a disaster and the effects, while flashy, didn’t always work. What of the performers? Brauch is fine. In fact, he’s better than fine with a great voice and moves and tons of stage presence. He commands the stage and leads ...

OK, so the music is a disaster and the effects, while flashy, didn’t always work. What of the performers? Brauch is fine. In fact, he’s better than fine with a great voice and moves and tons of stage presence. He commands the stage and leads the show well. But so many of the others, especially Stephenson and Swanson, are doing such campy, broad, overdone impressions of the characters in the movie, that the jokes were no longer funny, just embarrassing. And how much do we need to pander to the audience? Let’s make them cheer by having an opening projection showing the current date and the town we’re in (in case you forgot) or by having local references (Marty: “What are you looking at George?” George: “Hawks. See? Hawks.” Get it? Seahawks?). Again, super thirsty.

Caden Brauch leads the cast as Marty, bringing more of a cocky, rock ‘n’ roll vibe to the character than the squeaky-voiced innocence of Fox. And as Doc, Don Stephenson creates his own whispery eccentricity in the mad scientist role originally pl...

Caden Brauch leads the cast as Marty, bringing more of a cocky, rock ‘n’ roll vibe to the character than the squeaky-voiced innocence of Fox. And as Doc, Don Stephenson creates his own whispery eccentricity in the mad scientist role originally played by Christopher Lloyd.

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 le...

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.

The further “Back to the Future: The Musical” gets from the film, the more it succeeds. When Doc explains his time machine to Marty, a line of girls dances in, with little explosion designs on their boots, to aid in and dramatize the demo. Marty ...

The further “Back to the Future: The Musical” gets from the film, the more it succeeds. When Doc explains his time machine to Marty, a line of girls dances in, with little explosion designs on their boots, to aid in and dramatize the demo. Marty asks where they come from, but Doc’s mystified too, in a canny bit of meta humor: The rules of musical theater defy scientific understanding.

But "Back to the Future" is fun, filled with moments that you loved about the film, and while the "new" musical numbers didn't leave me with anything really memorable, the film's songs like "Power of Love" and "Johnny B. Goode" are quite welcome beca...

But "Back to the Future" is fun, filled with moments that you loved about the film, and while the "new" musical numbers didn't leave me with anything really memorable, the film's songs like "Power of Love" and "Johnny B. Goode" are quite welcome because they are so much a part of the story line. Also, the special effects will surely thrill you; thankfully in 2025 we have the technology to make you believe a car can actually fly. Bring the family, and even if you are one of the few who've never seen the films, this show will satisfy a craving for spectacle.

Overall, the show is wholesome, feel-good theater at its finest — and a perfect choice to end the season. At two hours and 40 minutes (including intermission), it may not hold the youngest of attention spans, but other than a few deliberately place...

Overall, the show is wholesome, feel-good theater at its finest — and a perfect choice to end the season. At two hours and 40 minutes (including intermission), it may not hold the youngest of attention spans, but other than a few deliberately placed curse words, “BACK TO THE FUTURE: The Musical” is a genuinely family friendly night out. Tuesday’s audience was lively and engaged, clapping and dancing throughout a curtain call with the full cast. Outside before and after the show, there was a DeLorean parked for photo and video opportunities.

The music and lyrics by Alan Silvestri and Glen Ballard are utterly forgettable, adding little to the familiar story, and often slows it down. Songs like “21st Century” and “It Works” add a bevy of ensemble members in an attempt to say “loo...

The music and lyrics by Alan Silvestri and Glen Ballard are utterly forgettable, adding little to the familiar story, and often slows it down. Songs like “21st Century” and “It Works” add a bevy of ensemble members in an attempt to say “look, this is a song and dance musical!” The end results are only mildly amusing.

“Back to the Future” is paint-by-numbers and also very entertaining. It has nothing to say the movie didn’t say and it’s a wonder to behold. It won’t become a classic but, great Scott, it will take you back in time to when you first fell in...

“Back to the Future” is paint-by-numbers and also very entertaining. It has nothing to say the movie didn’t say and it’s a wonder to behold. It won’t become a classic but, great Scott, it will take you back in time to when you first fell in love with the movie.

The main cast is terrific, led by Hallauer’s goofy, earnest charm and impressive guitar-playing as Marty, and Josefsberg’s eccentric, affable and dryly funny Doc. Mike Bindeman endearingly oozes awkwardness as bullied George McFly (a high-school ...

The main cast is terrific, led by Hallauer’s goofy, earnest charm and impressive guitar-playing as Marty, and Josefsberg’s eccentric, affable and dryly funny Doc. Mike Bindeman endearingly oozes awkwardness as bullied George McFly (a high-school student in 1955, Marty’s father in 1985), and Zan Berube shines as Lorraine, a confident teen and Marty’s future mother, whose throwback “Pretty Baby” number is one of the winners. Giving future mayor Goldie Wilson his own song, “Gotta Start Somewhere,” is a welcome spotlight for a person of color in a largely white story, and Cartreze Tucker impressively makes the most of it.

John Rando’s production has a few moments that titillate rather than obliterate the senses – the levitating car, as well as choreographer Chris Bailey’s tight dance sequences – but there’s an overreliance on projections and video that makes...

John Rando’s production has a few moments that titillate rather than obliterate the senses – the levitating car, as well as choreographer Chris Bailey’s tight dance sequences – but there’s an overreliance on projections and video that makes Back to the Future feel less like a stage show and more like a ride at a rickety carnival, flashy and bright but without much substance beneath the surface.

When people complain about movies being turned into musicals, I can’t help but feel that this is the type of show they are talking about. While it has some Great Performances and a handful of good moments, the show ultimately leaves me incredibly c...

When people complain about movies being turned into musicals, I can’t help but feel that this is the type of show they are talking about. While it has some Great Performances and a handful of good moments, the show ultimately leaves me incredibly cold and cynical. The show feels like a cash grab aimed at appealing to as many individuals as possible, almost as if it were created by a focus group. I acknowledge I am the minority. This time travel tale worked extremely well for the opening night audience, with cosplay galore and enthusiasm abound, so I can acknowledge this isn’t for me, but it does work for many. If you’re wanting to roll the dice on something bright and familiar, while maybe not the most intelligent musical, this will get the job done.

I’ll admit, the idea of adapting Robert Zemeckis’ classic for the stage piqued my curiosity. Live theater is a notoriously tricky medium to translate cinematic spectacle into something immediate and alive. But within minutes, it becomes clear tha...

I’ll admit, the idea of adapting Robert Zemeckis’ classic for the stage piqued my curiosity. Live theater is a notoriously tricky medium to translate cinematic spectacle into something immediate and alive. But within minutes, it becomes clear that this production has written itself into a paradox of its own, one that even Doc Brown couldn’t fix. Some things, perhaps, should have been left in 1985.

The treatment of the hit 1985 sci-fi comedy — which premiered days before the pandemic shutdown during 2020 in England and on Broadway in 2023 — ticks off all the boxes that make for a winning musical of any kind, regardless of its source materia...

The treatment of the hit 1985 sci-fi comedy — which premiered days before the pandemic shutdown during 2020 in England and on Broadway in 2023 — ticks off all the boxes that make for a winning musical of any kind, regardless of its source material. The songs — by Alan Silvestri and Glen Ballard, save for those couple of Huey Lewis & the News hits from the film. The acting is on a high level, the choreography energetic. And, as an adaptation, it makes tweaks to the plot that are clever enough to make it work on stage but without losing any of the original, joyous and tongue-in-cheeky spirit of the movie.

The treatment of the hit 1985 sci-fi comedy — which premiered days before the pandemic shutdown during 2020 in England and on Broadway in 2023 — ticks off all the boxes that make for a winning musical of any kind, regardless of its source materia...

The treatment of the hit 1985 sci-fi comedy — which premiered days before the pandemic shutdown during 2020 in England and on Broadway in 2023 — ticks off all the boxes that make for a winning musical of any kind, regardless of its source material. The songs — by Alan Silvestri and Glen Ballard, save for those couple of Huey Lewis & the News hits from the film. The acting is on a high level, the choreography energetic. And, as an adaptation, it makes tweaks to the plot that are clever enough to make it work on stage but without losing any of the original, joyous and tongue-in-cheeky spirit of the movie.

What stood out right away was how immersive the show felt from the opening moments as the movement, sound and visuals surround you. The production doesn’t ask you to simply remember the movie; it invites you to step into it, and not only watch it, ...

What stood out right away was how immersive the show felt from the opening moments as the movement, sound and visuals surround you. The production doesn’t ask you to simply remember the movie; it invites you to step into it, and not only watch it, but to really feel like an extra or quiet side character of the cinematic scenes and upbeat performances.

The cast is superb, possibly making the material better than it actually is. They toss off the comedy bits — think Sid Caesar, Jackie Gleason, Red Skelton, Milton Berle — like it’s nothing. Loyal fans (Time Warpies? Back-ers? Outta-timers?) wil...

The cast is superb, possibly making the material better than it actually is. They toss off the comedy bits — think Sid Caesar, Jackie Gleason, Red Skelton, Milton Berle — like it’s nothing. Loyal fans (Time Warpies? Back-ers? Outta-timers?) will be pleased that the comedy evokes the humor of the time periods.

As Marty McFly, Lucas Hallauer delivers a performance that captures the character’s recognizable teenage bravado without tipping into caricature. He embodies that particular mix of confidence and confusion: normal teenage arrogance, layered with a ...

As Marty McFly, Lucas Hallauer delivers a performance that captures the character’s recognizable teenage bravado without tipping into caricature. He embodies that particular mix of confidence and confusion: normal teenage arrogance, layered with a level of exasperation that only adolescents seem capable of. Hallauer’s reactions to the increasingly absurd circumstances ground the show, giving audiences a relatable emotional anchor amid the swirling theatrical effects.

Leading the way on this timeless journey is Lucas Hallauer as the legendary Marty McFly. He is so convincing in both acting and appearance that I nearly believed that Michael J. Fox traveled in a time machine from 1985 to reprise his role. And where ...

Leading the way on this timeless journey is Lucas Hallauer as the legendary Marty McFly. He is so convincing in both acting and appearance that I nearly believed that Michael J. Fox traveled in a time machine from 1985 to reprise his role. And where would Marty be without Doc Brown? Well, he’d disappear in 1955. Thankfully, Doc Brown is here, and he’s played by David Josefsberg. Not only is he truly hilarious in the role, but he nearly made me cry with “For The Dreamers”.

If you love the iconic movie, you may find that the show plods instead of soars. But when that DeLorean appears with its neon details, that mesmerizing flux capacitor, and its 1.21 gigawatts of power, all bets are off. It’s a star turn to rival any...

If you love the iconic movie, you may find that the show plods instead of soars. But when that DeLorean appears with its neon details, that mesmerizing flux capacitor, and its 1.21 gigawatts of power, all bets are off. It’s a star turn to rival anyone on stage.