Film adaptation strong on effects atop a subpar lineup of musical numbers

Those who line up to decry the bastardization of beloved film properties into low-quality musicals aimed solely at generating revenue could use Back to the Future: The Musical as a case study.

To be sure, the show is a touring Broadway production and possessed of a perfectly adequate professional cast and dance ensemble. Those expecting whiz-bang theatrical effects surrounding the story’s centerpiece DeLorean time machine won’t be disappointed either. It leans hard into its 1985 roots, with all the hair and Spandex to match.

Where this one really falls flat is in the 17 songs created for the musical alongside the few from the film (“Johnny B. Goode” and “The Power of Love”). With just a few exceptions, they’re insipid, uninspiring simulacra of the Broadway musical number, some with cringeworthy lyrics describing dime-store philosophy like “you’ll succeed if you really try.” With all those pieces to get through, most of the plot developments and character exposition done so well in the film are zipped past in the rush to get to the next big bit.

There are a few that rose to the occasion. A minor character in the film, Goldie Wilson (Cartreze Tucker, who also plays Marvin Berry) gets a bigger presence here as the would-be mayor. Benjamin is a powerhouse singer who steals Act One with a soulful “Gotta Start Somewhere.”

The memorable scene from the film where Marty (Caden Brauch) sees 1955 Hill Valley’s downtown for the first time is captured well here in “Cake.” We don’t have the Texaco gang servicing a car, but they’re still there along with other townsfolk singing the praises of everything from asbestos to cigarettes.

Others, like the Act Two opener from Doc Brown (Don Stephenson) “21^st Century” attempt to paper over the weak material with bombast. Somehow a bunch of dancers in light-up future garb and “88” on their shirts don’t distract from the limp content it surrounds. “Wherever We’re Doing” — the one attempt at a ballad with Marty’s girlfriend Jennifer (Kiara Lee) falls flat. As in the film, she’s not around enough to build a relationship we care much about, and the song serves only to underscore that plot hole.

Doc Brown opens Act Two with “21st Century” in ‘Back to the Future: The Musical’ | Photo: Matthew Murphy and Evan Zimmerman

But the car …

All that’s not to say that Back to the Future isn’t enjoyable on its own terms — especially if you’re not too busy evaluating the musical numbers specifically (although, reminder: you paid to see a musical). Car scenes onstage are tough to do, which is why most productions with a driving scene just do a suggestion of a car with a steering wheel and a couple of chairs.

Here, the replica DeLorean (a bit smaller than the real thing) is tricked out to look precisely like the one from the film. A large turntable midstage and realistic road projections behind it combine to convince the eye the car is really moving at up to 88 mph. (The flying scene at the end is less convincing.) Sound design around the car is fantastic, and the vehicle even has its own way of communicating both with an annoying robot voice and the ability to blast steam out the back.

Another impressive bit of tech is near the end when Doc is trying to get the cable up on the clock tower. The video backdrop is neatly synched to his steps as he comically walks up multiple stairs to the tower.

If nothing else, Back to the Future is a master class in what theatre tech is capable of in 2025. There are still plenty of practical effects to give it the live-theatre feel while the supplemental visual projections serve to make it look more like a film.

Marty is saved when George kisses Lorraine at the dance in ‘Back to the Future: The Musical’ | Photo: Matthew Murphy and Evan Zimmerman

Worth it?

That could lead to the obvious question of why we need a musical of this story in the first place, to which I have no plausible answer other than the producers clearly thought they could sell tickets to it (indeed, the Buell looked pretty full opening night). There’s also some pleasure in seeing these familiar characters live on stage.

As Marty McFly, Brauch brings plenty of energy and a solid voice to the role. As Doc Brown, Stephenson is suitably wacky and channels Christopher Lloyd’s original performance without overtly aping it. Zan Berube was a standout as Lorraine (Marty’s mom), particularly in her “Something About that Boy” where she moons over the appeal of her (ew) son.

As the supremely goofy George McFly, Mike Bindeman comes closest to replicating the original scene-stealing performance by Crispin Glover. It’s so good that I didn’t mind, and Bindeman is also possessed of a lanky body that allows him to depict the character’s awkward appeal in a highly physical manner. There’s one scene in “Hill Valley Fight Song” where he uses those long legs to dance-slither over a cafeteria table in a memorably comic move.

This show may not be anyone’s idea of a great brand-extension musical, but there’s no reason it wouldn’t make for a good production to take the kids to. If you’re my age and remember seeing Back to the Future in theaters, it checks all the nostalgia boxes — even if the songs propelling it are half-baked at best.