Pictured (L-R): Don Stephenson (Doc Brown) and Caden Brauch (Marty McFly). Photo by Matthew Murphy and Evan Zimmerman.
“Back to the Future: The Musical” is everything it’s cracked up to be. When you think it couldn’t get any better, it does. Now on its North American tour with a pit stop at the Kennedy Center Opera House, this stage adaptation of the 1985 film (with a book by Bob Gale, music and lyrics by Alan Silvestri and Glen Ballard, and direction by John Rando) is something you don’t want to miss!
The entire cast has developed a mastery of their roles that comes across effortlessly…stunning elements that end the show on an indescribable high…
This show comes with all the bells and whistles of a musical theater lover’s dream: state-of-the-art stage technology, humorous punchlines, jaw-dropping choreography, extraordinary vocals, and impressive acoustics, sound, and lighting effects. The optical illusions, including rain, thunder, and lightning, are just the beginning. A time-traveling sports car, dazzling costumes, top-tier acting, and even bubble effects that fill the theater contribute to a performance that ends with the audience on its feet, clapping and cheering profusely.
The storyline of the musical is as compelling as its technical elements. When Marty McFly, who already feels like the only ambitious one in his family, suddenly finds himself in 1955, he and Doc Brown must not only figure out how to get him back to the future, but do so without interfering with the events that led to his (and his siblings’) existence. It’s a race against time with dire consequences if their mission fails, but somehow, things end up better than expected.
The entire cast has developed a mastery of their roles that comes across effortlessly. Caden Brauch and Burke Swanson, as Marty and George McFly respectively, are perfect foils to the bullies portrayed by Ethan Rogers as Biff Tannen and Luke Anthony Neville as Principal Strickland. Swanson’s character who “doesn’t have a spine” excels in both acting and dancing like a flailing inflatable tube man often seen outside auto dealerships. He, along with Zan Berube as Lorraine Baines, own the nuances in their character transitions over the course of the musical and attest to their versatility. As Doc Brown, Don Stephenson excels in portraying the mad scientist archetype, except that he is genuinely likable and inspirational. His performance effectively keeps us on edge, particularly during the climactic race to the clock tower. He climbs a series of projected steps with the finesse of a video game character, and at the top, he convincingly makes us believe he is clinging to the rim for dear life.
Acts I and II fly by so quickly that I found myself wondering if we had time-traveled into the future in just five minutes rather than two hours and thirty minutes. With the exception of some tacky leaves hanging from a net in the backyard number of “Put Your Mind to It” (Marty and George), every scene showcases tremendous attention to set design and detail. All the elements immerse the audience completely into the action such as the opening scene’s digitized motherboard with computer pop-up messages to the suburban skyline with transmission towers; Doc Brown’s home with framed photos of Thomas Edison and Isaac Newton; and the high school backdrops that slide back and forth as if on a luggage ramp, taking us from the cafeteria, to the building entrance and the “Enchantment Under The Sea” school dance.
The optical illusions and sound effects in this production have set a new standard. When it rains, it pours—literally (though admittedly, it’s strange how Doc Brown isn’t soaking wet). When thunder strikes, we don’t just hear it, we see lightning-shaped bolts flash against the dark, stormy night of an entirely dark theater. The lightbulbs fixed onto the stage’s periphery must have utilized 121 gigawatts of plutonium to flash so brightly that viewers in orchestra seats may have suffered temporary flash blindness. Perhaps the time travel itself is the most mind-blowing of illusions as the line between 3D IMAX and theater stage blurs. Doc Brown’s DeLorean, after doing a 360 as if in a showroom, revs up to 88 mph, driving toward the audience but never actually moving closer, then turning and driving toward the back of the stage without reaching it either. All sorts of images whirl past—trees, dinosaurs, stars, and variations of colors, lights, and patterns that indicate a transition through space and time—paired with musical orchestrations reminiscent of the “Star Wars” introduction before crashing into a barn in a way that’s difficult to describe. In other words, you have to experience it for yourself.
The choreography and costumes are stellar in every number. Standouts include Cartreze Tucker’s splendid vocals as Goldie in “Gotta Start Somewhere” and “Future Boy” (Marty, Doc and Ensemble), with a “42nd Street”-themed performance in top hats, white gloves, bedazzled pants, and tailcoats. In “21st Century,” Doc and the ensemble perform techno/break dance in lab coats and glorified MEG helmets. The dancers showcase a wide variety of swing dance moves that keep your eyes glued to the stage in “Johnny B. Goode” (Marty).
Kudos go to the creative team which includes Associate Director Taylor Haven Holt, Choreographer Chris Bailey, Associate Choreographer Beth Crandell, Associate Music Supervisor Ted Arthur, Music Coordinator Kristy Norter, Musical Supervisor (Vocal and Music Arrangement) Nick Finlow, Music Director Matt Doebler (leading the Kennedy Center Oper House Orchestra), Orchestrations by Ethan Popp and Bryan Crook, Wigs, Hair and Make-Up by Campbell Young Associates, Scenic and Costume Designer Tim Hatley, Sound Designer Gareth Owen, Lighting Designers Tim Lutkin and Hugh Vanstone, Video Designer Finn Rosse, and Illusion Designer Chris Fisher, among others.
The final numbers, “The Power of Love” (Marty, Jennifer, Goldie, and Company) and “Back in Time” (Marty, Doc, and Company), feature stunning elements that end the show on an indescribable high. I’ll leave these moments for you to discover as you run, not walk, to the Kennedy Center Opera House.
Running Time: Two hours and 30 minutes, including a 15-minute intermission.
Advisory: Recommended for age 6 and up.
“Back to the Future: The Musical” runs through August 11, 2024 at The Kennedy Center Opera House, 2700 F St., NW, Washington, D.C. 20566. For more information and to purchase tickets, please go online. A limited number of $39 Rush tickets will be available for every performance at the Kennedy Center Box Office the day of the performance. Tickets are subject to availability and have no guaranteed location. 2 tickets max per person. Available to purchase in person only. Void if resold.
Box Office hours (Hall of States): 10 am – 9 pm, Monday–Saturday; noon – 9 pm, Sunday and holidays. Two hours free parking with validation from the ticket office. For more information about the tour, please visit their website.
