Review: BACK TO THE FUTURE: THE MUSICAL Lands at PPAC

Before it was a musical, before it was even a trilogy, Back to the Future was a kind of modern American myth: a comic exploration of what happens when Gen X kids are forced to see their Boomer parents not as figures of authority, but as anxious, awkward teenagers. Its time-travel premise gave 1980s audiences a safe and stylish way to ask big questions—about identity, fate, family, and regret—while riding the pop culture high of skateboards, sci-fi, and suburban rebellion. 

The musical adaptation, directed by John Rando (reprising his work in its nearly two-year run on Broadway), leans into that nostalgia, packing the show with familiar beats and visual spectacle. Bob Gale (co-creator of the trilogy) provided the book and Alan Silvestri and Glen Ballard added two dozen original songs (in addition to the obligatory Johnny B. Goode...). For fans of the film, it offers a fast-paced, visually impressive ride through a well-loved timeline. Oh, and, of course, a flying DeLorean.

The plot is almost certainly familiar: teen rocker Marty McFly (Lucas Hallauer) accidentally ends up in 1955, courtesy of a time-traveling DeLorean invented by the eccentric Doc Brown (David Josefsberg). Stranded in the past, Marty must track down the younger versions of his parents--awkward teen George McFly (Mike Bindeman) and smitten high-schooler Lorraine Baines (Zan Berube)--and ensure they fall in love, all while avoiding the bullying Biff Tannen (Nathaniel Hackmann) and trying not to unravel his own existence.

The cast is clearly having a good time with these characters, so well-known they have become Americana commedia dell'arte. Hallauer gives Marty McFly a bit of wistful humanity (the pantsless wakeup scene is a standout), and David Josefsberg chews just the right amount of scenery as the larger-than-life Doc Brown, who delights in the self-referential joke of mispronouncing "gigawatts" and displays a scientific nonchalance about the repeated appearance of the all-singing, all-dancing chorus ("They just show up," he shrugs.) 

And what a talented chorus: in addition to the pitch-perfect 1950s dance moves (kudos to choreographer Chris Bailey), they turn Brown's Act II open, "21st Century" into an utterly delightful pastiche of 80s music videos. As on Broadway, it remains a comic and choreographic high point.

Nathaniel Hackmann, who created Biff on Broadway, reprises his role, and delivers perfect comic villain timing, making his comeuppance the kind of moment that literally had the PPAC audience cheering. Sophia Yacap has very little stage time as Marty's future girlfriend, but both her vocals and chemistry are delightful. And Cartreze Tucker steals the show as Goldie Wilson, with his heartwarming arc from sweeping up the diner to becoming mayor. A fantastic vocal performance. 

The staging is brisk, propelling the story forward with a momentum that mirrors the original film’s pace. Rando keeps the transitions tight and the tone buoyant, aided by an inventive scenic design (Tim Hatley) that makes generous use of layered scrims and dynamic projections combining Tim Lufkin and Hugh Vanstone's lighting and Finn Ross's video. 

These elements create a richly dimensional stage picture—allowing for fluid scene changes, perspective shifts, and the illusion of movement through time and space. One standout is the "cross cutting" between Brown on the clock tower and Marty in the DeLorean; rarely have set pieces, projections, and lighting been integrated more effectively.

Also worth noting is the crisp and well-balanced mix from the tour’s sound team -- always a challenge in a big hall like PPAC -- audiences will actually catch every lyric and line. 

And therein lies one of the show's few missteps. The original film is such a well-oiled machine that you cannot help but notice that many of the songs are, in fact, bolted on aftermarket parts. In musical theater, finding a place to open the text for a number is called "song spotting." In a perfect world, these points arise from character moments and move the plot forward. Sometimes, you pretend that doesn't matter, and start Act II with a dream. Or add a creepy "peeping tom" number like "My Myopia," which plays uncomfortably in a post #MeToo world. It’s a moment that might have worked differently in 1985 than it does in 2025. And while the sound design allows you to hear every word of the musical numbers, whether that’s a blessing or a curse may depend on your tolerance for rhymed exposition and inspirational filler.

But that's a quibble; we're not here for the lyrics, we want to be amazed. At the Winter Garden, the DeLorean famously soared out over the orchestra—an effect impossible to replicate on tour. And yet, the PPAC staging manages to deliver a thrilling finale thanks to a cleverly integrated lift system, immersive projections, and just the right amount of fog and flash. It’s a moment of theatrical alchemy: a practical solution that feels, improbably, like magic.

For longtime fans, it’s a nostalgia-charged thrill ride; for newcomers, a glossy, good-natured introduction to one of Hollywood’s most beloved time-travel tales.

Back to the Future (National Tour), Directed by John Rando, at Providence Performing Arts Center, 220 Weybosset St., Providence, through June 15. Tickets $80-$130, available at ppacri.org and (401) 421-2787.