In Broadway’s The Shark Is Broken, Robert Shaw complains about the proliferation of sequels and remakes in popular movies. That disease has overtaken Broadway, as well. Prime example: Back to the Future, the musical version of the popular 1985 sci-fi film comedy now on Broadway after an award-winning run in the West End. At least Shark offers a different spin on Jaws, but Future is a retread of a familiar favorite. If you’ve ever been to Universal Studios theme park, as you enter the Winter Garden Theater, you might get the feeling you’ve been here before. Bob Gale’s book is basically the same as the movie with touches of the now-retired ride version at Universal Studios. Tim Hatley’s amazing set, Tim Lutkin and Hugh Vanstone’s flashy lighting, Finn Ross’s thrilling video, and the flying DeLorean auto which serves as a time machine are the real stars here. Chris Fisher is listed as illusion designer, which I assume means he had something to do with the truly stunning tricks the car performs.
As time-traveling teenager Marty McFly and eccentric scientist Doc Brown, Casey Likes and Roger Bart are proficient, professional performers paying tribute to Michael J. Fox and Christopher Lloyd, the original stars, but they don’t emerge as personalities of their own. Bart does garner some well-earned laughs by downplaying Doc’s goofy mad-inventor schtick. The only inventive bit not from the movie involves a hysterical meta-theatrical moment with the chorus. I won’t spoil it, but Bart milks for all it’s worth.
Hugh Coles, from the British cast, goes way overboard in his almost cringeworthy characterization of Marty’s nerdy milksop dad. Liana Hunt has tenderness and wit as Marty’s mom. Nathaniel Hackman hilariously delivers lame-brained lunacy as the town bully. Jelani Remy, Amber Ardolino, and Merritt David Janes make the most of multiple supporting roles.
As expected, the most memorable numbers are from outside sources: “The Power of Love” by Huey Lewis and the News, written for the soundtrack of the 1985 film and Chuck Berry’s “Johnny B. Goode” (also used in the film). Alan Silvestri and Glen Ballard’s songs are largely forgettable pastiches of pop tunes and Broadway standard-tropes. Fortunately, John Rando’s direction and Chris Bailey’s choreography keeps the action moving.
Back to the Future is easy, familiar fun, and by the end of the evening, I was rooting for Marty and his family, even as I was aware of the show’s shortcomings.
