Review: BACK TO THE FUTURE Musical Tour Zooms Into Segerstrom Center

OC's Segerstrom Center for the Arts in Costa Mesa is spending the holidays in fictional Hill Valley, California in the year 1955, via some tricky, logic-defying time-traveling courtesy of a time machine fashioned out of a sleek silver DeLorean. 

If that scenario sounds familiar, it's probably because its source material comes from one of pop culture's most well-liked movie franchises, re-emerging locally (after a similar run at the Pantages Theatre in Hollywood) as, of course, BACK TO THE FUTURE - THE MUSICAL, now playing through January 5, 2025—coincidentally the same day that the original Broadway production is also closing for good.

A riotous, mostly silly, but also sometimes laughably-odd theatrical entity, this national touring production of this enjoyable, endearingly-familiar stage musical adaptation of Universal Pictures' hit 1985 sci-fi comedy has always been on my wishlist for stage musical conversion, which finally launched in the UK in 2020 before debuting on Broadway in 2023.

Featuring a book by Bob Gale (co-writer of the original movie) and new music by Alan Silvestri and Glen Ballard, this musical stage adaptation blends high-energy (if mostly standard-fare) songs, impressive movie-like special effects, and the built-in nostalgia of the original movie. This stage iteration introduces new music alongside past hit tunes like "The Power of Love," "Back in Time," "Earth Angel," and "Johnny B. Goode." 

At its core, this new musical—while not perfect at every turn—is mostly a thrilling, humorous, and effectively heartfelt journey that celebrates an unconventional friendship as well as the enduring power of family. Just like the movie(s) that inspired its creation, the stage musical wows with cutting-edge stagecraft that blends seamlessly with its nostalgic familiarity.

I myself have been a huge fan of the original movie trilogy from a very young age, particularly with the second and third installments of the franchise which introduced more twisty, fantastical plotting and innovative visual effects enveloped by comfortably clever comedy tropes (and, really, how many current real-life innovations did the second film predict?). 

Under the direction of Robert Zemeckis (with creative and financial backing from Steven Spielberg's Amblin Entertainment), the trio of films were so much fun and believably rational in all its high-concept glory, as it pokes fun at the eras it features—whether it's the "square" 50's, the troubling 80's, or the "wild," untamed late 1800's—while also creating a forever-cemented cinematic explanation for how time travel and timeline interference works. 

Much like the film, Gale adheres faithfully (with minor stage-enforced tweaks) to its outlandish plot: in 1985, we meet young teen "slacker" Marty McFly (played by the endearingly spunky Caden Brauch) who accidentally finds himself traveling back to 1955 via a time machine created by his much older friend, eccentric local inventor Dr. Emmett Brown (a perfectly kooky Don Stephenson) out of a DeLorean, an American-made, stainless steel-bodied sports car with futuristic, wing-like doors. 

Stranded in the past, Marty meets and then inadvertently disrupts his parents' first meeting and must work to repair the timeline or else exacerbate the possibility of never existing at all! 

Naturally, as comedy dictates, many complications arise: the younger version of Marty's Mom, Lorraine (Zan Berube) develops a crush on her own future son (ewww), further derailing Marty's parents' courtship, while the younger version of Marty's Dad, George (Burke Swanson, doing a bang-up job channeling BTTF actor Crispin Glover), seems impossibly too nerdy to turn Lorraine's head. To make matters worse, local dumbass Biff Tannen (Ethan Rogers) who is George's bully both in 1955 and 1985, wants to basically un-alive Marty for apparently "stealing" Lorraine from him.

With the help of Doc Brown's younger, even more wild-eyed 1955 counterpart, Marty, hehe, races against time to ensure his parents fall in love—and, of course, to find a way back to the future where his girlfriend Jennifer (Kiara Lee) awaits.

On the surface, the original Back to the Future film seems rooted in its time travel machinations. But for me—particularly as I and my own father grew older—the first film is really less about Marty McFly and Doc Brown's capers in Hill Valley's past but, rather, more about a young man reexamining and reassessing the fractured, uneasy relationship he has with an awkward father, and how his unexpected trip to the past and his necessary meddling made both father and son better men in the future. 

Marty doesn't merely "save" himself selfishly from disappearing from existence nor by refashioning his 1955-era dad from a shy, dorky geek to a, well, geek with a bit more confidence—he also, in a way, is able to deeply understand and relate better with a father that he had a hard time connecting with in the first place. By each meeting each other where they're at, both father and son are able to forge a genuinely caring bond mitigated by hilarious happenstance. And the young version of Marty's dad didn't even have a clue who his new friend would eventually become.

I was hoping to sort of relive that kind of emotionally-rooted feeling while watching this new adaptation, but the stage version—aiming to primarily entertain both fans of the film(s) and wow theater-goers with its visual prowess—is palpably focused on, above anything else, presenting its spectacular stage effects as its main raison d'être.

It's obvious that the stage show's creators were hoping that their stage iteration would remind audiences of its direct ties to the film—hence its amping-up of both its stunning effects and the utter silliness of its two lead characters. Thus, here in this adaptation, the DoLorean gets the loudest applause, Doc is even more cartoonishly outlandish, and Marty seems more apt to sillier, sitcom-like antics. That emphasis on the hyper-comedy, however, lessens the deeper impact of Marty's understanding of his parents in their youth.

But don't get me wrong. 

The show that I experienced on its OC opening night is an undeniably good—actually, great—time. And not to sound like too much of a cliché, but BACK TO THE FUTURE - THE MUSICAL is actually quite a fun thrill ride. 

I found myself smiling and chuckling for most of it, especially during the show's clever recreations (and some re-imaginings) of certain iconic scenes from the film. 

Yep, I found myself laughing out loud at many of the familiar lines from the film provided by the film's own original co-screenwriter, who also finds very creative ways to tweak certain scenes to work better on the stage (that may have been more challenging to convey in its original celluloid presentation). A few were dictated for efficiency: gone are the pine tree farmer and his family who discover the crashed DeLorean in their barn, as well as the whole "chase" sequence in the town square that results in Biff's frequent run-ins with manure. 

The DeLorean is now voice-activated (as if it has a built-in Alexa) which, I suppose, solves having to show the time circuits display on the inside of the car audience members won't be able to peek in to see. We also don't get to see Marty scare his younger dad disguised as a visiting alien inside a protective hazmat suit—considering wearing such a suit would have "solved" a plot point early on that replaces the sequence that involved a bunch of Libyan terrorists chasing Marty through a mall parking lot that forces him into accidentally going back to the past (I know, it all sounds so "heavy.")

For the most part, story-wise, this stage adaptation is pretty faithful to the source material, thereby ensuring that the laughs, heart, and sci-fi adventure of the movie translate well to the stage and remains fairly intact. This new musical certainly retains the comedic spirit of the original film, blending slapstick, clever (if sometimes cliché) dialogue, and character-driven humor—portrayed with caffeinated performances from its superb cast.

But beyond that narrative familiarity, there are plenty of other aspects to enjoy. I definitely had a great time watching the high-energy ensemble dances choreographed by Chris Bailey (but I don't like how the stage show explains dance numbers by breaking the fourth wall saying that these random dancers "just show up out of nowhere" to Doc).

I also enjoyed hearing the cast’s singing voices and the terrific-sounding orchestra under the direction of Matt Doebler. And, yes, my jaws dropped at how well the show executed its many visual elements, a spectacular combination of theatrical innovation and clever trickery from scenic/costume designer Tim Hadley, lighting designers Hugh Vanstone and Tim Lutkin, video designer Finn Ross, and illusions designer Chris Fisher. 

From the way backdrops and foreground elements crackled with electricity, to even the way time travel is convincingly illustrated via video projections, practical props, and dynamic lighting, every visual element presented by this stage adaptation is a huge wow, proving how far theater effects have come. I mean… that "speedy" DeLorean zipping at 88 mph itself is a bonafide frikkin star of the show, too!

While the majority of the new music isn't particularly catchy or memorable (some even feel interruptive), a few do stand out thanks to their respective actors' performances. "Gotta Start Somewhere" is a surprise delight, mostly due to Cartreze Tucker's scene-stealing turn as Goldie Wilson, former diner server turned future Hill Valley mayor. The fever dream-slash-seemingly drug-induced "21st Century" is saved by Stephenson's hyperactive performance, but it's his "For the Dreamers" ballad in the second act that becomes a surprise, genuine heart-tugger. And Brauch's terrific rock-star moment comes in his take on "Johnny B. Goode" that has become the signature of both the film and this adaptation. He also excels with his covers of "The Power of Love" and "Back in Time" that closes out the show alongside this fun ensemble.

Overall, those coming to experience BACK TO THE FUTURE - THE MUSICAL will indeed have a fun time, at least via its surface trappings. It definitely succeeds in translating a beloved cinematic hit to the stage with infectious energy, approachable humor, and stunning visuals. Its dedication to preserving the spirit of the original while incorporating theatrical flair makes it a crowd-pleaser for both fans of the film and casual theatergoers who don't normally go to a live musical. However, its reliance on nostalgia and occasional pacing issues do limit its impact as a transformative piece of theater, even as your eyes widen in disbelief at all the theater magic on display.  

For those who cherish the original film, the musical is a delightful tribute. For newcomers or those seeking a deeper narrative experience, it's an entertaining-enough spectacle that offers a lovely distraction from current and, um, future troubles.

* Follow this reviewer on Twitter-X / Instagram/ BlueSky / Threads: @cre8iveMLQ *

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Photos by Matthew Murphy and Evan Zimmerman, courtesy of Segerstrom Center for the Arts.

Performances of BACK TO THE FUTURE - THE MUSICAL  continue at Segerstrom Center for the Arts in Costa Mesa, CA through January 5, 2025. Tickets can be purchased online at www.SCFTA.org, by phone at 714-556-2787 or in person at the SCFTA box office (open daily at 10 am). Segerstrom Center for the Arts is located at 600 Town Center Drive in Costa Mesa. For tickets or more information, visit SCFTA.org. 

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