THE DELOREAN IS THE ONLY THING
THAT FLIES IN THIS DUMPSTER FIRE
Since the release of the Stranger Things television series in 2016, the public appeal of all things ’80s has left very few stones unturned. From the lady wrestler phenomenon reimagined in the Netflix TV series GLOW to the surreal neo-noir film Drive, the public’s appetite for magenta-neon leg warmers, Gameboys, and Sony Walkmans is at an all-time high. With ’80s mom jeans becoming a defining look for Gen Z, this nostalgia wave has yet to reach its zenith.
Caden Brauch
No doubt, some savvy producers bet on orange fluorescent vests and vintage DeLoreans to catch this nostalgia wave. Thus, the iconic sci-fi 80s film Back to the Future was adapted into a musical in 2020, went through the West End and then Broadway, where it coincidentally closes on January 5, 2025, the same day that the 2024 national tour ends its stint at Segerstrom Hall before flying to another city to take advantage of theatregoers who, in a time of great fear, crave familiarity. (It’s a shame that we’re not waxing nostalgic about the Golden Age of Broadway musicals.)
Zan Berube, Burke Swanson, Caden Brauch and Company
Imagine the planning sessions, especially the brainstorming on how to make the DeLorean fly on stage. What a sight that will be!
Oops. I’ve spoiled the high point of the musical for you, dear readers, as the theater tech is the only saving grace of this convoluted and self-indulgent show. To be blunt, this musical is a shapeless mess. But hey, there’s a DeLorean that flies on stage! A real car! On stage! But be warned, there is a price to be paid for such a heavily tech-savvy show. The spectacle is there, but the artistry is not.
Don Stephenson
The idea to adapt the movie into a musical came from Bob Gale (from his screenplay with Robert Zemekis), a man with no experience in writing a book for the stage. As a result, the musical suffers from clumsy storytelling. It follows the movie’s plot almost scene for scene, transplanted onto the stage with minimal attention to character development, emotional depth, or subplots. Instead, it offers an unaltered selection of scenes from the 1985 film, performed live.
Ethan Rogers, Caden Brauch, Burke Swanson and Company
Marty McFly (Caden Brauch), a 17-year-old high school student, is accidentally sent 30 years into the past in a time-traveling DeLorean invented by his close friend, the maverick but nutso scientist Doc Brown (Don Stephenson). In 1955, he meets his parents when they were his age, and must step in to make sure they wind up together before he gets back to 1985. The show opens with Marty visiting Doc Brown’s home lab, where he establishes his Rockstar persona by strumming a conveniently placed guitar and obliterating an unrealistic-looking amplifier. Feeling nostalgic yet?
Caden Brauch
What follows are more reenactments of iconic movie scenes: skateboarding, high school drama, dysfunctional family dynamics, and Marty’s peculiar friendship with the eccentric Doc Brown (although the Libyan terrorists that come after Doc Brown for stealing plutonium to fuel the time-traveling car have strangely disappeared). Interspersed among these vignettes are forgettable songs by Alan Silvestri (Back to the Future film scores) and Glen Ballard (the reprehensible Ghost The Musical) that are filled with attempts at cheeky wordplay and lack depth and character exploration. After trudging through these obligatory musical numbers, we finally arrive at the time-traveling spectacle, featuring dazzling stage effects, flashing lights, and a dramatic score lifted from the film.
Cartreze Tucker and Company
The technical aspects of the production are undeniably impressive. Chris Fisher‘s fantastic illusions, Tim Hatley‘s sets and Finn Ross’s video design, including his jaw-dropping projections, elevate the show’s visual appeal. The DeLorean’s onstage movements, supported by intricate rigging, atmospheric fog, and Tim Lutkin and Hugh Vanstone‘s lighting effects are nothing short of spectacular. The iconic car turned time-machine is just as spectacular as you want it to be, and when it crashes onto the stage for the first time, you can’t help but be agog.
Burke Swanson, Ethan Rogers, Caden Brauch and Zan Berube
Sadly, the true star of the show is the DeLorean — a mechanical marvel on tracks. If only the car could sing; it would have stolen the spotlight entirely, as the human actors often feel like afterthoughts in a production that worships its automotive centerpiece.
Don Stephenson and Caden Brauch
Under John Rando’s direction, the musical feels more like a live taping of an episodic TV show than a cohesive stage production. Forced line delivery and overt staging overshadow the actors’ talents. Instead of treating the material as a heartfelt human story, the production comes across as a live-action homage, akin to a living museum exhibit or live action role-playing (LARP) games in which participants physically portray their characters. It’s less about engaging storytelling and more about reverence for the original film. Is that really what the kids want these days? It’s great to try to get new audiences in the door, but it’s saddening that this might be their first impression of a Broadway show.
Don Stephenson, Caden Brauch and Company
That said, some credit is due. Kiara Lee’s voice as Marty’s girlfriend Jennifer Parker is stunning (when it’s audible—the show’s sound mixing by Gareth Owen often allows the orchestra to overpower the singers, which is so typical for national tours). The ensemble’s swing numbers are exuberant and entertaining. Stephenson brings gravitas to Doc Brown, delivering his numbers with conviction despite their lack of substance. Brauch captures Marty McFly’s swagger and impresses with his skateboarding skills. And Burke Swanson’s portrayal of Marty’s dad George McFly, complete with his unforgettable wheezing laugh, leaves a lasting impression. Unfortunately, the iconic line “Great Scott!” is so overused it loses its impact.
Caden Brauch and Burke Swanson
Ultimately, I cannot recommend this musical. However, die-hard fans of the film series might find solace in the familiar, nostalgic elements and the camaraderie of like-minded enthusiasts. Just be sure to leave any and all expectations at the door.
Caden Brauch and Company
photos by Matthew Murphy and Evan Zimmerman
Back to the Future: The Musical
national tour
presented by Segerstrom Center for the Arts; plays until January 5, 2025
for tickets (starting at $44.07), visit SCFTA
tour continues; for dates and cities, visit Back To The Future Musical
