‘BACK TO THE FUTURE: THE MUSICAL’: Olly Dobson. Photo: Sean Ebsworth Barnes.

BACK TO THE FUTURE: THE MUSICAL
Book by Bob Gale
Music & lyrics by Alan Silvestri & Glen Ballard
Directed by John Rando
Adelphi Theatre
The Strand
London, United Kingdom
https://www.backtothefuturemusical.com/london/

By David NouNou

LONDON—Broadway, Lunt-Fontanne, Lyric, Marquis or St. James Theatres—be on the alert because one of you will be housing this giant pinball machine of a musical when it crosses the Atlantic.

You all know the plot, here’s a recap: Set in a small California town in the 1980s, 17-year-old Marty McFly (Will Haswell), in an experiment, travels through time in a modified DeLorean car created by his eccentric friend, Doc Brown (Roger Bart) where he ends up in the 1950s encountering young versions of his parents, before they were married. His mother Lorraine Baines (Katherine Pearson) has the hots for Marty when she first meets him and thinks his name is Calvin Klein because of the underwear he’s wearing. His father is a nerdy high-schooler George McFly (Hugh Coles) who is constantly being picked on and tormented by Biff Tannen (Aiden Cutler), the town bully. Marty has to make sure that George and Lorraine fall in love and kiss at a designated time, or he shall cease to exist. More daunting, Marty has to return to his own time and save the life of Doc Brown.

The plot is simple and the cast is minimal. It follows the premise of the movie, but all the charm and innocence of the piece have been sucked out of it. As you enter the enormous Adelphi lobby, you will be assaulted by every sort of Universal Studio merchandizing and display stands. Once you get inside the theatre, you are in a maze of red and green neon tubings resembling the maze in the 1982 Disney movie, Tron. Don’t get excited; it’s more for effect than substance.

The score at best is mediocre and unmemorable. What amazes me about British musicals is when creating material that is English in nature, Six or & Juliet, they can be brilliant, but when they try to create American-themed musicals, they totally miss the mark. The mugging and carrying-on by the cast and their idea of how Americans behave is a stereotype that would insult The Simpsons. Where is John Rando, a prominent musical director, when all this tomfoolery is going on? Also, why is the guy playing Marty McFly as a 17-year-old so old?

The worst is yet to come. Roger Bart, a prominent Tony-winning American actor for the 1999 revival of You’re a Good Man, Charlie Brown as Doc Brown gives what might be considered one of the worst manic, unhinged performances in modern times. Doc Brown is a brilliant but eccentric scientist, but Mr. Bart portrays him as a crazy lunatic. We attended a Thursday matinee that was subsidized by about 300 9-to 12-year-old boy students. The more outrageous Mr. Bart became, the more gregarious the boys became. By the end they were both out of control. By the time the special effects come in at the end— I’ll leave that as a surprise for you—all hell broke loose.

Whichever of the five theatres I’ve mentioned earlier that will house Back to the Future: The Musical, set designer Tim Hatley and sound designer Gareth Owen will have a grand old time making it over. TILT.

Edited by Scott Harrah
Published July 17, 2022
Reviewed in London on June 16, 2022.

‘BACK TO THE FUTURE: THE MUSICAL’: Roger Bart. Photo: Sean Ebsworth Barnes.

‘BACK TO THE FUTURE: THE MUSICAL’: Marquee at the Adelphi Theatre in London. Photo: StageZine.

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