BACK TO THE FUTURE: THE MUSICAL – BROADWAY & WEST END RUNS (2023-2024)
Book by Bob Gale
Music and lyrics by Alan Silvestri & Glen Ballard
Directed by John Rando
Music Director (Broadway): Ted Arthur
Doc Brown played by Roger Bart (Broadway), Cory English (West End)
Marty McFly played by Casey Likes (Broadway)
George McFly played by Evan Alexander Smith (Broadway), Hugh Coles (Broadway)
Lorraine Baines played by Liana Hunt (Broadway)
Goldie Wilson/Marvin Berry played by Jelani Remy (Broadway), Cedric Neal (West End)
Biff Tannen played by Nathaniel Hackmann (Broadway)
Winter Garden Theater, New York: June 30, 2023 & December 8, 2024
Adelphi Theatre, London: November 19, 2023 & June 30, 2024
PART 1: UNMATCHED AT 88 MPH
As a huge fan of musicals in general and having seen BACK TO THE FUTURE: THE MUSICAL (BTTFTM) four times – twice at the West End and twice at Broadway (including the preview premiere)* – I can say with no uncertainty that BTTFTM is simply unmatched in its passion, excitement and ability to deliver laughs, emotion, sharp lyrics and instantly hummable melodies, which is something sorely missing from many musicals the last few years.
* I realize this is a drop in the ocean compared to other BTTFTM fans!
Many modern musicals focus on clever lyrics at the expense of melodies that you can take with you long after the show has ended. Sure, they’ll often have one or two memorable songs, but the rest – to be brutally honest – is just filler. With BTTFTM, every song is a winner with instantly hummable melodies and clear and clever lyrics that give a clear window into the feelings and motivations of its characters.
PART 2: SOME BACKGROUND ON THE BTTFTM PHENOMENON
Before I dive into my review, let me provide some quick background on the phenomenon that is BTTFTM.
Conceived and produced by some of the original crew including producer/screenwriter Bob Gale and composer Alan Silvestri, BTTFTM follows the film for the most part but adds details to colour the story and give its characters moments to enjoy big crowd-pleasing set pieces.
It originally opened in Manchester in 2020, but had its run derailed by the pandemic. It later reopened before transferring to the West End in 2021.
It then had its Broadway premiere in 2023, followed by a North American tour.
The Japan run, which will be performed in Japanese, is starting in April 2025 and has already sold out its entire six-month run. Luckily, the run has been extended with new tickets going on sale soon.
BTTFTM will also play in Sydney and on a Royal Caribbean Cruise!
PART 3: JUST ANOTHER REVIEW
From the uncountable number of posts and reviews on Facebook and Instagram about people’s experiences with BTTFTM, it’s immediately evident that this show is widely loved on both sides of the Atlantic.
This review then is simply to capture my own experience seeing BTTFTM as we say goodbye, with great sadness, to the Broadway run.
I will of course be seeing the Japanese run in the first week – once by myself and once with my family – so stay tuned for my review of how it compares to the West End and Broadway shows.
PART 4: A PRE-SHOW GUIDE
Before the show begins, a large screen on stage displays a deep blue graphic explaining that no videos or photos are allowed during the performance – although I seem to recall that videos were explicitly allowed during the curtain call at the Broadway premiere.
A large map then appears, zooming in on the location that this particular performance of BTTF is playing at: the Adelphi Theatre for the West End, and the Winter Garden Theater for Broadway.
And with that, we’re off!
PART 5: ACT 1
(Please note: for this review, I will focus mostly on the Broadway run since it’s still fresh in my mind having seen it last month. I’ll add notes about the West End performances at the end of this review)
As with the Broadway premiere I saw on June 30, 2023, the audience goes absolutely berserk with applause when Casey Likes, i.e. Marty McFly, walks out on stage. When the applause finally dies down, the opening act begins, following the film with Marty causing the speaker to explode in Doc’s lab.
“It’s Only a Matter of Time” is the first song to fill the auditorium and what a cracker of a song to begin with! It was only logical that a song using Alan Silvestri’s iconic theme would open the musical, and I can only thank the creators for not using the words “Back to the Future” as the chorus as it would have been too on the nose. Instead, we get an uplifting number about a bright future that sets up the musical nicely.
We now move to school and Marty’s audition with “The Power of Love,” which is interrupted by Principal Strickland who tells Marty that he’s “Got No Future.” Marty then sings a short lament, which beautifully segues into “Wherever We’re Going” as Jennifer comes on stage to console and encourage Marty. It starts somewhat downbeat but then changes to a positive and catchy reggae beat as she tries to cheer him up. I’m not sure why a reggae beat was chosen, but it works like gangbusters.
Marty’s home is now introduced as a faux 3D cutout, amusingly recalling the McFly household from the film.
“Hello – Is Anybody Home?” is a killer set piece with the whole McFly family joining in on the fun. It’s also the first time we’re introduced to George McFly, who is played to perfection by Evan Alexander Smith. I had to laugh at the lyric spoken by Marty as he describes his father’s ineptitude: “He’d come in third in a two-man race.”
We then move to Twin Pines Mall and are finally introduced to Doc Brown played by the incomparable Roger Bart. The fabulously uplifting “It Works” plays with girls in silver jumpsuits appearing out of nowhere to lend their vocal and dancing support. I laugh every time Marty says, “Hey Doc, who are the girls?” to which Doc responds, “I don’t know, they just show up every time I start singing!”
This is where things change a bit from the movie. Instead of terrorists shooting Doc, we have him struck down by radiation poisoning with his vest glowing bright green.
In a panic, Marty hops into the DeLorean and drives away in search of help to the glorious strains of the BTTF theme (i.e. “Don’t Drive 88!” on the original cast album). During this entire sequence we are treated to some incredible visual and practical effects that really make it seem as if the DeLorean is driving away through the Twin Pines Mall parking lot at 88 mph!
The auditorium darkens after the DeLorean hits 88 mph and disappears into the past. When the lights come back on, we find ourselves in Old Man Peabody’s barn.
We then move to downtown Hill Valley with a fun performance of “Cake,” a song poking fun at marketing and mass consumerism. It’s written in that unmistakable ‘50s style and is hard not to imagine as a standard of the time.
Marty then meets a young George for the very first time in the diner scene. We are also introduced to a young Biff and his gang, with Nathaniel Hackmann pitch-perfect as everyone’s favourite bully.
After the bullies leave the diner, a young Goldie Wilson (performed by the tremendous Jelani Remy) chastises Marty and George for not standing up to them. This leads to the crowd-pleasing “Gotta Start Somewhere,” a catchy gospel-infused song that has the audience joyously clapping along.
Despite the limits of the stage area, we are then treated to George singing “My Myopia” in a tree after he spies on Lorraine Baines through the window stuffing her bra with tissues. It’s a beautiful song that helps you truly understand and sympathize with George. The song later changes mood to something more whimsical and fun, highlighting his eccentric side.
After catching George peeping at Lorraine, Marty is hit by a car (or did he fall from the tree? My memory is a bit hazy here) and George slips away. Lorraine’s father finds him lying injured on the street and immediately calls for his wife by screaming, “Stellaaaaaaaa!!!”
We then segue into Lorraine’s bedroom with some light sexual innuendo and the catchy “Pretty Baby.” Liana Hunt’s vocals are perfect for this song, with a trio of girl backing singers suddenly appearing in her window to help give the song some added humour.
Marty finds his way to Doc Brown’s home of 1955. After explaining his predicament, they launch into the powerful “Future Boy.” As much as I love the stage version of this song, I think Glen Ballard’s demo on the Deluxe Edition album is even better. It’s such an incredible ballad that would certainly chart any day of the week. But I can see why this longer demo version was not used on stage – it would have slowed things down.
Marty then heads to school where we meet up with Lorraine, her friends and Biff and his gang. This kicks off “Something about that boy,” a romantic song full of yearning that segues into a catchy foot-stamping beat. Biff and his gang join the song with some amusing lyrics highlighting Biff’s less than intelligent side: “I’m gonna break him right in three… two!”
The song returns to Lorraine and “Something about that boy,” finishing with that iconic line, “Calvin Klein, I’m gonna make you mine!” to end a sensational first act.
PART 6: INTERMISSION
Jazzed up by the first half, I need a quick restroom break and a breather.
At the Winter Garden Theater, I use the intermission to browse the outside merch shop and get some fresh air. I am also pleasantly surprised to find free Wi-Fi at the theater!
For the Adelphi Theatre in London, I get a slushy/slurpee/frozen drink and am told by the counter staff member that I can get a free refill as long as I am using the official BTTFTM cup. That certainly takes a sting out of the price – but whether or not you can reasonably finish a cup for a refill within the interval is highly debatable!
PART 7: ACT 2
The second act opens with the electronics-heavy “21st Century,” a fun and energetic song with lyrics dreaming about an ideal future.
As George struggles to win the affections of Lorraine, Marty encourages him to “Put your mind to it” with a hilarious dance and song number in his backyard. With Smith really hamming it up and putting on his best dance moves as George, the audience just cannot get enough of it.
“For the Dreamers” comes next, a beautiful and poignant song highlighting Doc’s resolve to come through and get Marty back to the future. It’s a welcome respite before the storm.
Biff returns with the menacingly catchy “Teach him a lesson.” Full of small jokes, it’ll be interesting to see how it is translated in the Japanese version.
“The Letter” starts with some optimistic dialogue about what lies ahead with Silvestri’s original score giving the scene added depth and emotion. It then segues into an uplifting reprise of “Only a Matter of Time” and “Wherever we’re going” with Jennifer coming back to sing with Marty.
We then move to the famous Enchantment Under the Sea Dance sequence with the original dance number, “Deep Divin’” written in that ‘50s dance hall style.
Back outside, George is waiting for his moment to “pretend” fight Marty but is instead surprised by the appearance of Biff, who immediately twists his arm in that now iconic pose.
I won’t lie when I say that this scene chokes me up every time – perhaps because I was on the receiving end of some nasty bullying when I was young and had always longed for revenge, or perhaps because the entire audience erupted into the most riotous applause EVER as George knocks out Biff.
Back on the dance floor for “Earth Angel,” somebody butts in while George and Lorraine are dancing, but George quickly fights back and lays a wet one on Lorraine as the audience goes absolutely bonkers with approval!
The icing on the cake is Lorraine stepping on Biff as she triumphantly exits the dance with George – although I do feel genuinely sorry for the guys playing Biff each night!
Marty is then beckoned to the stage for his virtuosic guitar performance of “Johnny B. Goode.”
The clock is ticking so we move to the exciting climax of “The Clocktower,” where some genius set design shows Doc running up a flight of stairs to the tower. It’s impossible not to laugh and marvel at this whole scene.
We cut to Marty and the DeLorean with some incredible visual and practical effects once again making the audience feel that Marty is zooming down the street at 88 mph and back home.
Back in the present and all is well again.
The past has changed the future, and George has now gone on to become a celebrated novelist. He comes to the podium to make a speech and while doing so introduces Marty McFly and the Pinheads who give a final and rocking performance of “The Power of Love.”
As the piece concludes, we are interrupted by Doc who pleads with Marty to come back with him to the future. They both hop into the DeLorean as Silvestri’s iconic theme builds into the greatest finale ever: the DeLorean rises into the air and flies forward over the audience seated in the Orchestra section!! It then spins around, with Doc and Marty WAVING at everyone through the windscreen! I honestly had no idea they were waving until my second viewing of the show – I was seated so close to the front the first time that I just couldn’t see them!
After the curtain call we are treated to a joyous performance of “Back in Time,” with many people in the audience on their feet and clapping to the beat.
The backup dancers are all dressed in matching red puffy jackets, with George and Lorraine wielding electric guitars to the delight of all!
It’s an uplifting way to end a perfect evening at the theatre.
PART 8: THE CAST
I’ve already mentioned a lot of the cast in passing above, but let me now go into a little more detail:
Marty McFly
– Casey Likes (Broadway)
– Olly Dobson (West End)
Casey Likes has undeniable charm and makes Marty a very likeable character. He also has a tremendous singing voice and is often seen engaging with the audience during the curtain call.
I’m only familiar with Olly Dobson from the original cast recording, but my does he emulate the voice of Michael J. Fox to perfection. If only I’d seen him perform live during the initial UK run…
Doc Brown
– Roger Bart (Broadway)
– Cory English (West End)
Bart owns this part, but IMHO Cory English is equally good. Both guys do eccentric and manic to perfection! They also have superb comedic timing, excellent singing voices, and sometimes add hilarious adlib. It’s hard to pick a favourite as they are both exceptional.
George McFly
– Evan Alexander Smith (Broadway)
– Hugh Coles (Broadway)
Evan Alexander Smith, who I saw last month at the Winter Garden, is perfect. He’s lanky, awkward, and has excellent comedic timing. He doesn’t overdo the George mannerisms, so comes across as believable and real.
I of course have to mention Hugh Coles who has played this role from the very beginning. He IS George in many ways, and it’s hard not to love and root for him every time he appears on stage. Even though I only saw him perform this role once on stage, it was a real privilege.
Lorraine Baines
– Liana Hunt (Broadway)
A gorgeous actress with a voice to match, I’d certainly fall for her if she was my mother! Hunt sings with strength and conviction and perfectly embodies the characters of both young and present-day Lorraine. I can’t get her performance of “Pretty Baby” out of my head!
Goldie Wilson / Marvin Berry
– Jelani Remy (Broadway)
– Cedric Neal (West End)
Both actors have an incredible voice and presence on stage, and they bring endless energy to the stage each night. I just cannot imagine anyone else playing Goldie Wilson.
Biff Tannen
– Nathaniel Hackmann (Broadway)
As everyone’s favourite bully, Hackmann was born for this role. He looks like him, talks like him, and acts just like him – but I’m certain he’s a nice guy in real life!
PART 9: THE MUSIC OF SILVESTRI & BALLARD
A musical is nothing without great music and lyrics and I have harped on and on in this review about how great the music for BTTFTM is.
When I tell people about BTTFTM, they automatically think of Silvestri’s main theme and the Huey Lewis songs, but nothing else. “How could they possibly extend that into a musical?” many have asked me.
But through sheer effort, determination and talent, Silvestri, Ballard and their team have done it – and it more than just delivers.
It could easily have been a simple cash grab, but no – we got something infinitely better. We got something that neatly contains the original story in two-and-a-half hours while fleshing out the characters and their feelings through memorable songs and fantastic set pieces.
PART 10: BTTF AND ITS TIMELESS APPEAL
It’s quite unbelievable that something that was released on film forty years ago has now gone on to become a successful and widely loved musical on both sides of the Atlantic.
It is simply testament to the tremendous, and dare I say it “timeless” appeal of its original story, characters and music.
I’m really going to miss the energy and enthusiasm of the Broadway performances and forever regret not being able to take my son to see it. A twelve-hour flight from Japan isn’t exactly easy (especially for infants), and given the punishingly bad exchange rate, it is prohibitively expensive when you factor in accommodation, meals, sightseeing, etc.
In any case, it was a tremendous run that not only reinjected life into the BTTF franchise – not that it needed it – but also created a whole new generation of BTTF and musicals fans.
I know I’m not the first to say this, but I sure wish I could go “Back in Time” to see this again for the very first time!
PART 11: GOODS GALORE!
As all BTTFTM fans know, both theatre venues are loaded with merchandise ranging from things such as magnets to Christmas ornaments, hoodies to red “life preservers,” and keyrings to fingerboards.
Luckily you can buy most stuff online here (be quick though – some things have already sold out):
- UK store: Back To The Future The Musical Official Online Store : Merch, Music, Downloads & Clothing
- US store: BAF Homepage – Araca Event Merch
For my money, the US has the best merch including these:
- A personalized ticket: Back to the Future the Musical Souvenir Ticket – Araca Event Merch
- A time circuit with the date of the Broadway preview premiere
- A huge poster printed on hard card paper (Adelphi only has a poster on regular soft paper)
PART 12: OVER TO YOU
Did you also see this musical? How did you like it?
And what did you think of my report? Feel free to comment below or reach out to me directly in the “Contact Me” section.
