TIME I’LL NEVER GET BACK

Any time I see a show that truly knocks it out of the park, it fills me with so much joy to be able to review it. Nothing quite compares to the transcendent experience of great theatre, and I love nothing more than singing its praises. Sadly, this is not one of those shows.

For those who don’t know, which is arguably a small minority, Back to the Future: The Musical — which opened as part of a national tour in L.A. at the Hollywood Pantages Theatre this Wednesday, November 6, 2024 — is an adaptation of the acclaimed 1985 film starring Michael J. Fox and Christopher Lloyd, the first of a trilogy. It’s about a skateboarding, guitar-playing teenage boy who accidentally travels into the past in a sports car that a harebrained inventor turned into a time machine. He has to help his parents unite so he and his siblings don’t get erased from history and then find a way back to 1985. I grew up with and love this movie. It practically defined an era and is considered by many to be one of the best films ever made.

Caden Brauch

Don Stephenson and Caden Brauch

Without hyperbole, I can say that Back to the Future: The Musical is the worst musical I have ever seen. It pains me to say that because I am such a passionate advocate for musical theatre. It often gets a bad rap, and unfortunately it’s shows like this that perpetuate that reputation. Plus, the movie has such a special place in my heart, and this production was disheartening.

Caden Brauch

Zan Berube, Burke Swanson, Caden Brauch and Company

I will admit I have high standards. I believe it’s important to keep them high so that we don’t devolve into mediocrity or worse. But I’m by no means cynical. I go into every theatre with the same hope as all the other people in the audience: to see a great show. Given the fact this is a musical version of Back to the Future, I did temper my expectations somewhat. I was ready to accept a confectionary spectacle. And judging by the cavalcade of DeLorean’s outside and the impressive design of the pre-show projections, I was also ready to be wowed by the production value.

Don Stephenson

Don Stephenson, Caden Brauch and Company

And to be fair, the production value is one of its semi-redeeming qualities. This show had quite the budget. The design team (Tim Hatley, designer; Tim Lutkin & Hugh Vanstone, lighting designers; Finn Ross, video designer; Chris Fisher, illusion designer; Gareth Owen, sound designer) pulled out every single stop. It was a visual and aural feast with impressive theatrical recreations of iconic scenes and images from the original film, including Marty McFly (Caden Brauch) racing the time traveling car through a parking lot, jumping thirty years into the past, and crashing into a barn.

Ethan Rogers, Caden Brauch, Burke Swanson and Company

Cartreze Tucker and Company

But that’s where the praise ends. Where did it go wrong? First, the story. While they were largely faithful to the plot, there were some regrettable departures. For instance, instead of being gunned down by Libyan terrorists over stolen plutonium, Doc Brown (Don Stephenson) is struck with radiation poisoning. With all the theatrical wizardry they pulled off, could they not figure out how to achieve a shoot-out? Or was it just too shocking for our sensitive and impressionable minds? Either way, it eliminated one of the key sources of heart and depth that made the film so beloved. When Doc Brown is shot, it grounds what would otherwise be a superficially fanciful story. And when he reveals his bulletproof vest at the end of the film, it’s quite moving. Him suddenly glowing green and keeling over on stage looks ridiculous by comparison.

Don Stephenson and Caden Brauch

Caden Brauch and Burke Swanson

Then there’s the score. It’s not only forgettable, it’s incoherent, kitschy, and grating, which is surprising coming from the powerhouses that are Alan Silvestri and Glen Ballard. More than once I found myself tuning out or wishing a song would stop.

So, the show itself is already a disappointment. But to add insult to injury, the director, John Rando, has the cast delivering distorted caricatures of the original characters. It’s not clear if this SNL-on-crack portrayal is meant to be tongue-in-cheek or if it’s an honest attempt to pay homage. Regardless, it was entirely off-putting and, at times, agonizing. I mean, bless those actors’ hearts. I’m sure they are all wonderful in their own right. They clearly have chops and they were fully committed, but this production does them no service.

Burke Swanson, Ethan Rogers, Caden Brauch and Zan Berube

Caden Brauch and Company

I don’t particularly enjoy being so critical. No one wants their work condemned. And I want musical theatre to flourish, so if anything, I’m biased toward giving artists the benefit of the doubt. However, as much as I’m an advocate for this art form, I’m equally a guardian. I would be remiss if I weren’t judicious. I intend no disrespect toward the creators, only the utmost respect for theatre. And this was truly a substandard experience.

But hey, don’t take my word for it. Is it possible for someone to have a good time at Back to the Future: The Musical? Absolutely. There certainly were a fair number in the audience on opening night. But I, on the other hand, was wishing I could get my time back.

photos by Matthew Murphy and Evan Zimmerman

Back to the Future: The Musical
national tour
presented by Broadway in Hollywood
plays the Hollywood Pantages until December 1, 2024
tour continues; for dates and cities, visit Back To The Future Musical