BACK TO THE FUTURE: THE MUSICAL – SHIKI THEATRE COMPANY TOKYO
Book by Bob Gale
Music and lyrics by Alan Silvestri & Glen Ballard
Directed by John Rando
Music Director: Keisuke Shimizu
Doc Brown played by Masuo Nonaka
Marty McFly played by Naoto Risu
George McFly played by Yoichiro Saito
Lorraine Baines played by Chiaki Kainuma
Biff Tannen played by Koki Sakai
Goldie Wilson played by Futa Yasuda
April 9 and 12, 2025
Shiki Theatre
Tokyo, Japan
PART 1: IT (WAS) ONLY A MATTER OF TIME
As I sat there in the auditorium enjoying the Shiki Theatre Company’s performances of BACK TO THE FUTURE: THE MUSICAL (BTTFTM), a huge smile crept over my face – not only because seeing the musical has never failed to lift my spirits with its 1.21 gigawatts of humour, excitement and charm, but also because I was so glad that BACK TO THE FUTURE (BTTF) fans in Japan could finally experience the wonder that is BTTFTM.
I first heard that BTTFTM was coming to Japan from composer Alan Silvestri himself when I caught him on the street outside the Winter Garden Theater the day of the Broadway preview premiere in 2023.
After mentioning that I had flown all the way from Japan for this very special occasion, he immediately responded by telling me that BTTFTM would eventually be coming to Japan.
Well, almost two years later, BTTFTM has finally arrived at the Shiki Theatre, a famed musical theatre venue in Tokyo known for putting on the likes of mega hits such as WICKED, ALADDIN, THE LION KING, CATS, and many, many more.
PART 2: PRE-OPENING EVENTS
In the lead up to the show’s premiere at the Shiki Theatre, various events and promotional activities were held in and around the Shiki Theatre including visits by the show’s producers and creatives including Robert Zemeckis, Bob Gale, Colin Ingram, John Rando, and songwriter Glen Ballard.
In the first week of April, a replica DeLorean Time Machine was on display on the lawn outside the theatre. Housed in a secure display case, we were unable to get near it but could at least get a good view of the car and its interior.
On the second floor of the building housing the Shiki Theatre is the newly opened Shiki Cafeteria, which is currently serving BTTFTM-themed food and drinks.
Limited edition coasters – of which three types are available – are being distributed with every order until stocks last.
A commemorative cup is also available for an additional fee with every drink purchase.
PART 3: A REVIEW OF BTTFTM… TOKYO STYLE!
After my two viewings this past week at the Shiki Theatre, I can now say that I have seen BTTFTM six times* – twice each on Broadway, the West End, and now the Shiki Theatre.
* which is a drop in the ocean compared to other hardcore fans!
So, how does the Shiki Theatre Company’s performance compare to others?
For the most part, it’s actually pretty similar.
The subtle differences that do exist come in the form of cultural references and of course the translation of the lyrics – yes, the show is performed entirely in Japanese without any English subtitles projected on the side of the stage.
I did feel at times that the translated lyrics did not hug the melodies as well as the original English lyrics, but that really can’t be helped.
One thing that I thought was significantly better than other BTTFTM performances was the acoustics: they were fantastic. I’m not sure if it was due to the design of the auditorium or the brilliant work of the sound team (or both!), but the dialogue, vocals, band, and sound effects were crystal clear. In fact, the instruments were so clear that I could hear orchestral details in the music that I had not heard before. The brass section in particular had amazing clarity which gave extra weight to the more emotional moments during the show.
The show’s many dance numbers were also full of the excitement and energy of its young and spirited ensemble cast.
Speaking of age, I did feel that Naoto Risu, the actor playing Marty, looked a bit on the old side when he first came out on stage. While his Marty doesn’t have the youthful charm or charisma of Michael J. Fox, he more than makes up for it with his tremendous singing voice and acting skills. Over the two performances I saw him in, he had clearly gotten more comfortable and confident with the role, making us truly believe that he was just some guy trying to get back to the present to save his friend and set the world straight again.
Doc Brown, played by a scene-stealing Masuo Nonaka, looked and acted exactly as I had hoped he would – manic, full of witty one-liners, and with a great voice to match. I do have to admit though that he did seem out of breath at times during the show!
PART 4: NO PHOTOS OR VIDEOS
As with the West End and Broadway performances, before the show kicks off the large stage screen states that photos and videos are prohibited during the performance. This rule extends to the encore and curtain calls and is very strictly enforced – this is standard custom for concert and musical theatre performances in Japan.
The show then begins with the stage screen showing today’s date followed by the word “Tokyo” in huge font. We then go through a short, animated tour of Tokyo and its surrounds (including Tokyo SkyTree and Mt. Fuji) before travelling the globe to the US and the Hill Valley Courthouse. We then move to John F. Kennedy Drive before making our final stop at the Doc Brown residence of 1985. The stage screen is then raised for the show to truly begin with Marty McFly ready to appear on stage.
PART 5: THE FIRST HALF
(For this review, I will focus on the performances and how the show differs from the West End and Broadway versions. For a detailed breakdown of each song and what happens on stage, please see my review of the West End and Broadway performances here. I’ve also embedded audio clips for reference)
“It’s Only a Matter of Time”
Used to the audience exploding when Marty comes out on stage for the first time, I wasn’t sure what to expect at the Shiki Theatre as Japanese audiences are famously reserved and comfortable to clap only at the end of each song. But this time I was pleasantly surprised: there was warm applause when Marty stepped out on stage for the iconic exploding speaker sequence in Doc’s lab.
After the speaker explodes and Marty says “Rock n’ Roll,” we immediately segue into the first number for the night, “It’s Only a Matter of Time.”
This was a fine performance of the opening song complete with excellent dance choreography and singing from Marty. It no doubt had the audience bubbling with excitement for the rest of the show.
“Audition/Got No Future“
The first thing I noticed here was that Strickland was not bald 😊 In any case, he was appropriately authoritative and principal-like.
As Marty reflects and dejectedly sings about having “no future,” that gorgeously melancholy French horn line appears, making you truly sympathize with his plight while hoping that he can someday overcome his obstacles to “have” a future.
“Wherever We’re Going“
How can anyone not love this duet between Marty and Jennifer?
Starting off as an inspiring ballad, it then shifts gears with a catchy reggae-inspired beat as Jennifer playfully denies giving Marty a Polaroid she has just taken of them together.
I originally had a bit of an issue with the Shiki Theatre’s casting here. I just didn’t feel any chemistry between Marty and Jennifer – perhaps because of nerves, Marty just didn’t seem that into her. He was just too cool and reserved compared to her young and somewhat petulant demeanor.
But for the second performance I saw they looked much more comfortable and in synch with each other. I could buy the romance this time, and as a result, could appreciate their performance much more.
As their song came to a close, Jennifer blew a kiss to Marty which he caught at the exact moment the song ended. It was perfect timing for the transition into the next scene.
“Hello, Is Anybody Home?”
At the McFly household we are now introduced to crowd favourites George McFly and Biff Tannen.
I was wondering how these guys would be casted for the Tokyo performance, and boy, was I not disappointed!
Yoichiro Saito, in the role of George, is exactly as I had imagined he would be – tall, thin, lanky and awkward to a T. He has the voice down pat too!
Biff Tannen, played by the physically imposing Koki Sakai, was just perfect. He was tough and menacing as the 1955 Biff, brash and cocky as the original 1985 one, and small and apologetic for the “new” 1985 Biff. In fact, so talented was his performance that there were times that I couldn’t believe this was the same person!
“Hello, is anybody home?” was predictably translated to “Hello, Moshi Moshi!” The original line spoken by Marty that George would “come third in a two-man race” was replaced with a line about George being so inept that he’d “get lost in his own house (a rough translation).”
“It Works”
Ah, “It Works.”
A Japanese phrase with a total of two syllables was needed to fit the melody of “It Works” and what they came up with was “Ya-tta.” By itself, it translates to “Hooray,” but in the context of the song it would translate to “Hooray, I did it.” As I am so used to the original English lyric, it just doesn’t work for me…
Nevertheless, Doc stole the show here with his fun vocals and choreography. I was so glad that they retained that joke about the dancing girls suddenly appearing on stage (“They just show up every time I start singing!”)
I did notice one minor mistake (or was it intentional?) in both performances I saw – the moment Doc bends over to take the plutonium out of its crate in the West End and Broadway versions, his pants rip, clearly revealing his bright coloured underwear. For the Shiki performances, his underwear was barely visible…
(Mind you, I’m not suggesting I had a burning desire to see them!)
“Don’t Drive 88!”
I knew this whole sequence would knock people’s socks off when they saw it for the first time, but oddly enough, something seemed off about it. And I’m not talking about the music or how it was performed, but rather how it looked.
My first thoughts when Marty hopped into the DeLorean and sped away was that it looked kinda “low res.” The view of the car and the background just wasn’t clear, and I couldn’t quite figure out why. I also noticed this during latter driving scenes and the clock tower sequence, and that is when it dawned upon me: the stage screen in the foreground, which was used throughout the night to projection map certain special effects, appeared to be made of a mesh-like material that had clearly visible wavy lines running throughout it. It’s hard to describe, yet I can’t show a picture of it as we’re not allowed to snap photos during performances.
Either way, I found it to be jarring and it made what was happening on stage seem less believable. I can’t say I noticed it when I saw BTTFTM on Broadway and the West End even though I was sitting much closer to the front… so perhaps they used a different type of screen? I really don’t know.
“Cake“
I love this piece and the Japanese lyrics fit like a glove. No complaints here!
“Gotta Start Somewhere“
Marty steps into a diner to find a young George eating at a table.
We are then introduced to 1955 Biff who is pitch-perfect as everyone’s favourite bully. This “Japanese” Biff was clearly bigger than other cast members and had a truly wicked laugh that often echoed throughout the auditorium.
After Biff and his gang leave the diner, it’s time for Goldie Wilson to shine, and shine he did! To be honest, it’s pretty hard to beat the West End and Broadway versions of Goldie Wilson as they sing in a very specific style that honestly does not lend itself well to being sung in other languages. Still, Futa Yasuda, the Japanese actor playing Wilson, had loads of charisma and certainly got better and more comfortable with the role over the two performances I saw him in.
A nice touch I noticed towards the end of the song is when the pit band conductor throws up a golden broom to Wilson, who then goes on to use it as a prop on stage as he sings the wildly crowd-pleasing finale of the song.
“My Myopia“
George, played by the highly talented Yoichiro Saito, demonstrated his superlative singing and acting chops during this piece that was both touching and humorous.
Lorraine Baines could also be seen in the window stuffing her bra with tissues. I honestly thought they’d cut this part out for Japanese audiences – luckily, they didn’t!
“Pretty Baby”
Chiaki Kainuma, the actress playing Lorraine, absolutely killed this song. She sang with conviction and heart while humorously showing how infatuated she was with “Calvin Klein.”
“Future Boy”
The big difference I noticed here is during one line of dialogue where Doc jokes about the Vice President being Daffy Duck – except for the Shiki version, it had been changed to “Donald” Duck. I guess this change was made as Daffy Duck is not as well known or loved as Donald Duck is in Japan.
We then move to Hill Valley High School with Marty advising George on how he can win Lorraine’s heart. Again, there was another big difference during one of the key lines.
George is meant to tell Lorraine that she is his “destiny,” with the Japanese word for destiny being “un-mei.”
When he finally works up the courage to talk to her, he fumbles and tells her that she is his “un-ten,” which in English means “car.”
😊
“Something About That Boy”
What a fantastic crowd-pleaser to end the first half with!
Despite having seen this sequence numerous times, I had never really noticed the genius of it all until now. Not only is the music written to perfection, but the whole sequence also cleverly uses the sets to portray a chase through the cafeteria and locker halls of the school. It’s really only two places, but it feels like a whole load more. Top marks to those that planned and executed this part!
Oh, and FYI: the STAR WARS/“I am your Father” part is retained… and in English!
PART 6: THE SECOND HALF
“21st Century“
Once the auditorium lights dim after the intermission, the stage screen shows an 8-bit Pac-Man chasing Doc through a maze. The maze then disappears to reveal the real Doc who is pretending to push buttons that have been projected onto the stage screen.
And with that the rip-roaring “21st Century” begins, a wonderfully catchy techno-heavy song that had my 7-year-old son rocking in his seat to the beat (which is a huge no-no according to Shiki Theatre etiquette, so I had to tell him to calm down!)
“Put Your Mind To It”
As the show’s acoustics were so good, I noticed for the very first time that underscore was playing while George and Marty are talking in George’s backyard. With synth and a moody electric guitar playing in the background, it contained a completely new theme that isn’t present anywhere else during the show. This led me to wonder if this had been newly composed? And if so, was it even composed by Alan Silvestri? I can’t be sure.
The song’s performance was predictably entertaining with Marty and George showing us their best (and worst) dance moves.
“For The Dreamers”
Before Doc launches into this touching ballad, he quickly explains to Marty his plan to send him back to the future using a crude model of the town to demonstrate.
For the first performance I saw on April 9, there was most definitely a set malfunction as the model car did not spark and light up with flames when it crashed into the model building. Instead, only a small billow of smoke appeared – and even that was slightly delayed.
Fortunately, for the April 12 matinee performance this glitch had been fixed.
In any case, Doc’s performance of “For the Dreamers” really pulled at the heartstrings and only made us root for our heroes even more.
Acoustic guitar definitely sounded much more prominent during the latter part of this piece, giving it an extra layer of warmth and tenderness.
“Teach Him A Lesson”
In addition to Biff’s fun performance of this piece, it was marked by an insanely catchy (and crystal clear) trombone line. It’s a small detail but one that had me smiling with glee.
“The Letter/Only a Matter of Time (reprise)“
As Marty and Doc say goodbye for the last time in 1955, Alan Silvestri’s iconic theme on French horn makes its entrance to highlight this wonderfully touching moment.
Marty and Jennifer then launch into a beautiful reprise of “Only a Matter of Time,” which is a much-needed moment of calm before the oncoming storm.
Deep Divin’
This was a typical ‘50s dance number with George showing some awkwardly amusing dance moves. When he realizes he is late to “save” Lorraine, he dashes off the dance floor as it transitions to the car scene.
Marty and Lorraine are sitting in the car talking as a lovely piano arrangement of the “Pretty Baby” theme is performed.
When Biff approaches George and twists his arm, my fists clenched with anticipation for THAT iconic punch. Even more than that, I was looking forward to the audience erupting with applause when George finally works up the courage to knock him out. But how did the Shiki Theatre audience actually react when movie history’s most famous knock out occurred? For the April 9 performance, there was muted applause. And for the April 12 matinee performance? CRICKETS, nothing but crickets.
It goes without saying that this scene is elevated 1000-fold when the audience is behind George and wildly applauding when he knocks out Biff. I guess I’ve been spoilt in that my very first experience with this scene was on Broadway, where the audience went absolutely bonkers during this moment.
My son and I must have been the only ones in the auditorium clapping at that moment during the Saturday matinee…
“Earth Angel (Will You Be Mine)“
For the iconic “Enchantment Under the Sea” dance, bubbles were released from each side of the stage and onto the audience to add to the romance of the scene.
When George pushes away a rival suitor and finally lays a wet one on Lorraine, I was again expecting the audience to go berserk but was again met with silence… (it didn’t stop me from clapping with the tips of my index fingers though!)
“Johnny B. Goode”
A pretty good job here from Marty who convincingly went to town on his guitar solo.
“The Clocktower/For the Dreamers (reprise)”
There was an audible roar of laughter from the Broadway audience the first time we saw Doc running up the stairs to the clock tower. This was understandable as it was such a visually impressive yet comical scene due in large part to the way Roger Bart ran up those stairs!
The Shiki Theatre performance on the other hand made little impression. Perhaps because it was slower? Or maybe because of those wavy lines I mentioned earlier?
Either way, I still love this sequence because it has that amazingly triumphant final performance of the “For the Dreamers” theme. Everything in the musical has built up to this moment and it just goes off in the grandest way possible.
Marty is back in 1985 but realizes he is too late to save his dear friend Doc. Overcome with sadness he falls to his knees, putting his hands over his face while loudly sobbing over the loss of his friend. With deep melancholy he then sings a reprise of “Got No Future” while a beautifully solemn arrangement of the BTTF theme on French horn plays in counterpoint.
Admittedly, this scene was quite upsetting, and to be honest, I don’t remember the Broadway or West End performances being this “heavy.” Still, I think this was the right way to handle this scene as it just made you care more about Marty and Doc and what they went through to get to this point in the story.
All credit to the actor playing Marty for his tremendous acting in this scene – he certainly had me fighting back tears.
“The Power of Love”
Doc is alive, it’s a new day, and a new future for Hill Valley.
We begin by celebrating “George McFly Day” and a glorious performance of “The Power of Love” by Marty McFly and the Pinheads. While the audience for the April 9 performance joyously clapped along with the song, the April 12 audience watched in silence. If only the cast actively encouraged the audience to clap along…
“Doc Returns/Finale”
Regardless of how many times I see the flying DeLorean sequence, it never ceases to amaze me.
Just before it lifted up into the air, I nudged my son and told him to pay extra attention when the car rolled over as we would see Doc and Marty waving at the audience through the windshield. Needless to say, he was mightily impressed!
But what really makes this scene for me is that truly iconic build up by the percussion as the DeLorean lifts up into the sky. How can anyone not be inspired by Alan Silvestri’s scoring of this moment in both the film and stage musical – it’s just perfect in every way. And hearing it played live on stage as the DeLorean does its thing? Damn.
“Back in Time”
After the curtain call we are treated to an exciting performance of “Back in Time,” and this time (and for both performances I saw), the audience was actually happy to clap along.
The song ended to the biggest applause of the night as well as a well-deserved standing ovation.
“Exit Music (Back in Time)”
As the audience files out, an instrumental version of “Back in Time” is performed. Used to the original cast recording, the Shiki Theatre band’s take on the piece was fresh and dynamic and had killer solos by the keyboardist (who also conducted the band!) and sax player.
PART 7: SHUT UP AND TAKE MY MONEY
The Shiki Theatre actually has two merch shops – one is just outside the entrance of the theatre and is open to the public, and the other one is inside the theatre lobby upstairs. From what I could tell, merch is identical at both places.
In any case, there is A LOT of BTTFTM merch on offer.
Fortunately, most of it is available at the Shiki Online Store. Unfortunately though, none of it is available for shipping outside Japan.
Here are some pics of the things that I bought on my two visits:
A number of goods are only available at the venue and these include the low-malt beer, lemon squash (which includes a detachable label with today’s date!) and tote bag.
PART 8: BACK TO THE FUTURE THE MUSICAL FANS
Through extreme fortune I was able to meet and chat with Tony from the BACK TO THE FUTURE THE MUSICAL FANS group!
He was kind enough to give me some very special souvenirs for the occasion which I shall treasure always:
Be sure to check out his Instagram, Facebook and X sites for the latest news on all things BTTFTM!
PART 9: THE KIDS ARE ALRIGHT
For those bringing kids, know that they will be well looked after.
As my 7-year-old son came along, we requested a child booster seat from the cloakroom. I was bit confused as to why they were asking for our seat number, but later found out why: after we had been seated, an usher came to our seat to check that the booster seat was comfortable and the right size. If that’s not great service, I don’t know what is!
PART 10: 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.
