“Back to the Future: The Musical” is an amiably rollicking reanimation of a much-loved movie classic, and in no mood to address its flaws, which seem—ironically, given its preoccupation with time travel—stuck in another era.
show just does what it needs to do, going big on songs, silliness, corn, and heart. And together those things work, even while some things frustratingly don’t work around them. The leviathan kicks into life, the audience jumps on and rides shotgun. Through the barrage of special effects, jokes, dramatic set-pieces, the stage-filling dancing and singing of the unsung heroes of the company—through all of it—the audience is visibly and audibly locked in, seduced, happy.
In a show that is too long, director John Rando brings a smart, witty lick to scenes and set-ups. The centerpiece of Tim Hatley’s design is, of course, the pimped-up, time-travelingand fans of the movie will not be disappointed by how the musical emulates the movie’s time-travel sequences and bombastic ending, and the car’s whooshing departure into the skies and space. The car is most definitely the star, even if for the most of the show it travels in rather limp circles.
Bob Gale’s book hews close to the movie , with only a couple of significant departures from the original. There is no Einstein the dog, and there are no Libyan terrorists, meaning the show relies on plutonium poisoning as the thing that may kill Doc.
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