Back to The Future: The Musical (Play)

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    ‘Back to the Future’ to Close on Broadway, Rerouting DeLorean to Germany

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    The musical, which opened in London three years ago, is still going strong there and touring North America, while productions are planned in Japan and on a cruise ship.“Back to the Future,” a nostalgia-rich and spectacle-laden musical adaptation of the much-loved 1985 film, will end its Broadway run on Jan. 5, succumbing to the difficult economics of the commercial theater business.The show had a decent run — the first performance was on June 30, 2023, and for more than a year it grossed over $1 million most weeks — but it was costly to mount and expensive to sustain; its grosses took a dive in late summer and early fall, and although it had rebounded somewhat more recently, sales were still insufficient to justify continuing. Thus far it has been seen by 720,000 people at the Winter Garden Theater.The long-gestating show began its production life in England, and won the 2022 Olivier Award for best new musical in London’s West End, where it has been running for more than three years. It has not been so fortunate on Broadway, where it won no Tony Awards. It cost $23.5 million to capitalize, according to a filing with the Securities and Exchange Commission. Ultimately it did not run long enough, or make enough money each week, to defray its New York costs.But this is not the end of the line for the show. The Broadway set will move to Germany, where “Back to the Future” plans an open-ended run starting next season. The London run is ongoing, there is a North American tour now underway and productions are planned in Japan and on a Royal Caribbean cruise ship.“Back to the Future” is about a teenager who travels back in time, aided by a mad scientist with a souped-up DeLorean, and must figure out how to deal with the unintended consequences of his trip. One of the highlights of the stage production is the soaring car.The musical, directed by John Rando, features a book by Bob Gale, who wrote the movie with Robert Zemeckis; the songs are by Alan Silvestri, who wrote the film’s score, and Glen Ballard. The lead producer is Colin Ingram, a British theater producer.American critics were mostly unimpressed; in The New York Times, the chief theater critic Jesse Green wrote, “Though large, it’s less a full-scale new work than a semi-operable souvenir.”The show is the seventh musical to announce a closing date since early May, following “Lempicka,” “The Heart of Rock and Roll,” “The Who’s Tommy,” “The Notebook,” “Water for Elephants” and “Suffs.” More

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      Casey Likes of ‘Back to the Future,’ Is on a Roll

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      “I either suck or I’m awesome,” Casey Likes said as he entered Frames, a snazzy bowling alley tucked into a corner of the Port Authority Bus Terminal. “There is no in-between.”It was shortly after 11 p.m. on a recent Thursday, and Likes, 21, the toothy, wholesome star of the Broadway musical adaptation of “Back to the Future,” was there to bowl as part of a league comprising teams from current and former Broadway shows.With the alley closed to the public, he strode into the room like the boy-mayor of the place, resplendent in an ultramarine bowling shirt. On his first lap, he greeted friends from “MJ” and “Kimberly Akimbo,” then paused at the bar to order a drink and some fries. He maintains a strict anti-inflammatory diet during the week, but on bowling nights he lets that regime slide. Fries collected, he turned to join some other friends. Clowning, he accidentally streaked a colleague’s hair with ketchup, then helped to clean it. This clumsiness is not new to him. At the opening night party for his Broadway debut, “Almost Famous,” he spilled soda on Joni Mitchell.Thursday night strikes: Likes is part of a league comprising teams from current and former Broadway shows.George Etheredge for The New York TimesNot many young men can claim that honor. And only a handful have led two Broadway musicals before their 22nd birthday. But Likes has. A mix of the extraordinary and perfectly ordinary, he is a boy-next-door type, as sincere as sunlight, as unthreatening as oatmeal, who can still command a Broadway stage.“He found his way there because of pure joy,” Cameron Crowe, who worked with him on “Almost Famous,” said. “And that joy is infectious.”Likes grew up in Chandler, Ariz., a medium-size city southeast of Phoenix. His mother, a former Broadway actress, managed a theater there, and Likes has been onstage since he was 3, playing Tiny Tim to his mother’s Mrs. Cratchit. He also appeared in several local commercials. Sometimes people ask him when he knew he wanted to be an actor. The better question: When didn’t he?He continued acting all through his childhood. He couldn’t help it. When his elementary school told him that he couldn’t play another lead because other students should have a chance, he headed up the tech crew. In the summer after his junior year of high school, having already starred as Jean Valjean in “Les Misérables” and Jack in a youth theater production of “Newsies,” he was invited to participate in the Jimmy Awards, a competition for high school musical theater students held in New York City. He didn’t win, but his solo (he performed “Santa Fe” from “Newsies”) caught the attention of a casting director of the Broadway-bound musical “Almost Famous,” who brought him in for an audition. Likes, then 17, attended exactly one day of his senior year, then flew out to join a workshop, completing high school online.Roger Bart, left, as Doc Brown, and Likes as Marty McFly in “Back to the Future: The Musical,” which is onstage now at the Winter Garden Theater.Sara Krulwich/The New York TimesSolea Pfeiffer as Penny Lane and Likes as William Miller in “Almost Famous,” a stage adaptation of the film that had a short run last fall at the Bernard B. Jacobs Theater.Sara Krulwich/The New York TimesAfter the musical’s brief run at the Old Globe in San Diego and a pandemic pause, it opened on Broadway last year with Likes as William, a teenage journalist trailing a volatile roots rock band. He was the baby of the show, by several years, which made his experience not so different from William’s — awestruck, out of his element, sometimes lonely.Though the reviews for the show were generally unenthusiastic (“You can say bad,” Likes said), critics described Likes as appealing, endearing, and as his name demands, likable. The actor felt pressure, wholly self-imposed, to live up to those notices. Toward the end of the run, he began to experience what he describes as unrelated health problems.“I was worried,” he said. “I was like, ‘Are people going to be disappointed in me?’”When “Almost Famous” closed, he had planned to take some time off to recover. Instead he was quickly offered “Back to the Future,” another musical based on a popular film. Another musical that kept him constantly onstage. He didn’t hesitate. “If you asked me at any point in my life, ‘Do you want to play Marty McFly on Broadway?’ The answer is obviously yes,” he said. “Like, duh.”“I’ve been waiting for this community,” Likes said. “I’ve been waiting to be able to do what I love and to be around people that I love.”George Etheredge for The New York TimesGeorge Etheredge for The New York TimesJohn Rando, who directed the “Back to the Future” musical, hired Likes for his youth, his amiability, his soulful rock tenor. Once previews began, he was also impressed with the confidence that Likes brought to the role and his effortless engagement with viewers.“Part of his charm is that he’s fearless with an audience,” Rando said.Likes knows that he has to get the audience on his side, smile by smile, note by note. And he feels that he has to pay homage to the actors who created the roles he plays (Patrick Fugit in the “Almost Famous” movie, Michael J. Fox in the “Back to the Future” franchise), while making the parts his own.“That might be my little hidden superpower,” he said. “To be able to take the things that made them iconic, distill them and put them in a little smoothie with all the things that make me special.”A particular flair for bowling is not necessarily one of those things, though Likes did say that at the previous week’s outing he had bowled a strike. This week the “Back to the Future” team, the Pinheads, would play the “Kimberly Akimbo” team, Pinberly Akimbowl. (Other team names of current Broadway shows: Hamilpins, Some Strike It Hot, Sweet Spareolines and, from “Moulin Rouge,” Bowlhemians.)Asked if his co-star Roger Bart (who plays Doc Brown) was on the team, Likes shook his head and laughed. (As Bart said, in a recent interview, “He’s got one of the great laughs. And the biggest, most contagious smile.”) People like Bart, Broadway veterans with families, don’t come out to bowl. They leave that to their younger colleagues, such as Likes.“I just want friends!” Likes said.Bowling night seems to be more about hobnobbing than actually bowling. “I’ve never played a full game,” Likes said. George Etheredge for The New York TimesIndeed, Likes was so busy hobnobbing that he neglected to register with his team and the game was already in progress when he found them at their assigned lane. Apparently this happens often. Asked about the rules of the league, Likes shook his head. “I’ve never played a full game so I truly do not understand,” he said.An ensemble member allowed him to sub in for one frame. Likes approached the foul line with his typical ease, then bowled a three. (In the interest of fairness, his score was then erased and the frame was bowled again.) He shrugged it off and fed some French fries to a castmate. Two other colleagues staged an impromptu dance-off, trading pirouettes and arabesques.“I just love it. I love the vibes,” Likes said.The evening wore on. Likes bowled another frame.“You got it,” his co-star Jelani Remy called out to him. “You look great.” Likes struck down three pins, then two more. (That frame was also erased.) The Pinheads beat their rivals 1,176 to 943 — though the “Kimberly Akimbo” team was admittedly down a player. A second game began. Likes wouldn’t bowl this one either, he had more circulating to do. He feels that he has spent his whole life getting to a place like this. He is determined to enjoy it.“It’s the reason I’m wearing the bowling shirt,” he said. “I’ve been waiting for this community. I’ve been waiting to be able to do what I love and to be around people that I love.” More

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      ‘Back to the Future’ Review: The DeLorean Crash Lands on Broadway

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      The addition of 17 songs turns the 1985 sci-fi classic into a big “why?” musical with a big wow factor.The brand-extension musical is a tough genre to game, demanding something new for newcomers yet fidelity for fans. (“Hairspray” succeeded; “Frozen” did not.) “Back to the Future: The Musical,” based on the first of the time-travel films in the billion-dollar franchise, faces an additional hurdle: It hinges on a star performance that would seem to be irreproducible onstage.And by star, I of course mean the car.So, good news: In the Broadway adaptation, which opened on Thursday at the Winter Garden Theater, the famously souped-up DeLorean DMC, or a life-size replica thereof, is terrific — in some ways more exciting than the one in the movies because it does its tricks live.Well, partly live. The time-warping, plutonium-powered joy rides that shuttle young Marty McFly (Casey Likes) between 1985 and 1955 in the vehicle retrofitted by the eccentric Doc Brown (Roger Bart) are crafty illusions combining mechanical action, busy projections and a lot of distraction with fog, lights and sound.Alas, that also describes the rest of the show, directed by John Rando with Doc-like frenzy: mechanical, busy, distracting, foggy. Though large, it’s less a full-scale new work than a semi-operable souvenir.Certainly the musical’s book, by Bob Gale, sticks as close to his 1985 screenplay (written with Robert Zemeckis, the movie’s director) as stagecraft and current-day taste permit. The Libyans who threaten Doc Brown are gone, swapped for radiation poisoning, which as yet has no defenders.But Marty is still the same frustrated would-be rock ’n’ roller, stuck in cookie-cutter, Reagan-era Hill Valley, Calif. — and, worse, in a family of beaten-down losers. When Doc’s DeLorean accidentally transports the teenager to 1955, during the exact week in which George McFly (his patsy father) and Lorraine (his boozing mother) fell in love at a high school dance, his presence threatens to create a causal paradox, interfering with their courtship and erasing his own existence.Roger Bart, left, as Doc Brown and Casey Likes as Marty McFly with a life-size replica of the souped-up DeLorean DMC from the film.Sara Krulwich/The New York TimesYou wouldn’t expect the adapters to change that; the working out of the paradox is the best thing about the screenplay. Nor would you expect them to drop Doc’s unaccountably beloved catchphrase, “Great Scott,” though invoking it 13 times is perhaps a dozen times too many.Still, you might hope that something in the musical, for instance music, would change the way the material lands. It doesn’t. The numbers carried over from the movie and performed by Marty at that high school dance — including Chuck Berry’s “Johnny B. Goode” and Huey Lewis and the News’s “The Power of Love” — are of course effective as ensemble opportunities. But neither they nor most of the 17 new songs by Alan Silvestri and Glen Ballard, though tuneful and in a few cases rousing, do anything different from what the movie did anyway. Like Silvestri’s John Williams-y main title music, repurposed here as a brief overture, they are too generic for that.The exceptions underline the problem. One is “Gotta Start Somewhere,” a song for Goldie Wilson, a janitor in 1955 who we already know will run for mayor 30 years later. That nice but underfed idea from the screenplay becomes a can’t-help-but-smile barnburner here, with a classic musical theater theme (underdog dreams big) sparking a classic musical theater performance (by Jelani Remy). Similarly, “My Myopia,” the appealingly peculiar song that introduces George in 1955, creates the illusion of depth (“My myopia is my utopia”) from a plot hole.Rando’s staging of that number is not ideal; though George (Hugh Coles) is supposedly peeping at Lorraine from a tree, it looks more like he’s in a rowboat made of leaves. And Lorraine (Liana Hunt) apparently misunderstands the physics of reflection because she’s using her open bedroom window as a mirror.It’s a rare visual misstep for Tim Hatley, the show’s set and costume designer, who has generally provided astonishingly satisfying theatrical versions of the movie’s settings and — with the sound designer Gareth Owen, the lighting designers Tim Lutkin and Hugh Vanstone, the video designer Finn Ross and the illusion designer Chris Fisher — those surprisingly old-fashioned newfangled effects.The inventiveness and surprise of the climactic sequence — we see Doc climbing the crucial clock tower in a hilariously fake layering of live action behind a scrim and animation projected onto it — makes the show’s obsessive concern with faithfulness elsewhere feel like a cheap compromise.And yet it’s not really faithful. The movie is carefully balanced in tone; the musical is dialed up uniformly to 88 m.p.h. Coles, a carry-over from the 2021 London production, which won the 2022 Olivier award for best new musical, essentially duplicates and then vastly exaggerates Crispin Glover’s already exaggerated George. Bart, too idiosyncratic merely to copy the idiosyncrasies of the movie’s Christopher Lloyd, instead adds a descant of commentary atop them, sometimes seeming to extemporize a different show entirely. And Likes, though not at all reminiscent of the expert Michael J. Fox in the movie — in tribute to whom there’s a nice Easter egg — is given nothing new to do except sing, which he does very well.Jelani Remy, center, as Goldie Wilson, a janitor in 1955, performing “Gotta Start Somewhere.”Sara Krulwich/The New York TimesThat the problems of musical adaptation, even when solved, come to define the production — good workarounds are not the same as good work — suggests the “Why?” problem at its heart. Why, other than the opportunity to rake in a gazillion more dollars, make a musical out of a movie that clearly does not want you to?I say that because, like most pop science fiction, “Back to the Future” resists (and barely benefits from) deepening. Its plot is necessarily complex and its characters compensatorily flat — instead of, preferably for a musical, the other way around. The movie’s two hours were barely enough to tell the story; to tell it in about two-and-a-half, while leaving room for those 17 new songs, everything else has been cut to the bone, with no room for subtlety, let alone expressivity. Why then bother with the songs in the first place?Making material shallower, even if cleverly, is not a great argument for adaptation. It can be defended if some other value is countervailing. For me, the show’s stagecraft and general high spirits come closest to providing that value, but they are too often undone by 1955-ish ideas of Broadway style (cartwheeling cheerleaders, backflipping jocks) and 1985-ish plot points held over from the movie. The Libyans may be gone, but the story still valorizes a peeping Tom and suggests that a white boy introduced “Johnny B. Goode” three years before a Black man actually wrote it. That’s what we call a caucausal paradox.Though much praised at the time of its release and more recently beatified as one of the all-time greats, the movie, with its implicit consumerism and win-at-all-costs ethos, has always struck some people — including Glover — as morally hollow. One of the sour notes in the musical is the way it sings the same tune. Still, in this first post-“Phantom of the Opera” season, I have to admit that the car alone might be worth a ticket. It fills a deep Broadway longing for large objects performing audience flyovers — and, like the dear departed arthritic chandelier, may be doing so for the foreseeable future.Back to the Future: The MusicalAt the Winter Garden Theater, Manhattan; backtothefuturemusical.com. Running time: 2 hours 35 minutes. More

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      ‘Back to the Future’ on Broadway: Buckle Your (DeLorean) Seatbelt

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      If he could go back in time and do it again, Bob Gale probably wouldn’t change much about “Back to the Future.” This 1985 science-fiction comedy, about a teenager taking a whirlwind trip to the year 1955 in a time-traveling DeLorean built by an eccentric inventor, became an endearing and endlessly quotable box-office smash.The film, which Gale wrote with its director, Robert Zemeckis, also turned into a cultural phenomenon. It bonded its stars, Michael J. Fox and Christopher Lloyd, to their quirky characters and spawned two hit sequels that its creators envisioned as a self-contained saga.When the words “The End” appeared onscreen in “Back to the Future Part III,” Gale explained in a recent interview over lunch, it was a message to audiences. “We told the story we wanted to tell,” he said. “And we’re not going to milk you guys for a substandard sequel.”But like its emblematic DeLorean, the “Back to the Future” franchise has continued to reappear in the ensuing decades, in authorized books, games and theme park rides, in cast reunions and countless pop-cultural homages.The gang’s all here: Doc Brown, Marty McFly and, at the center of some of the show’s much-anticipated stunts, a replica of the DeLorean time machine.Nina Westervelt for The New York TimesNina Westervelt for The New York TimesNina Westervelt for The New York TimesAnd now on Broadway: “Back to the Future: The Musical,” which opens Aug. 3 at the Winter Garden Theater, follows a story that will be familiar to fans of the film. Using a time machine devised by Doc Brown, Marty McFly travels to 1955, meets his parents Lorraine and George as teenagers and must help them fall in love after he disrupts the events that led to their romantic coupling.On its yearslong path to Broadway, “Back to the Future” has faced some challenges that are common to musical adaptations and others unique to this property.While the show’s creators sought actors to play the roles indelibly associated with the stars of the film and decided which of the movie’s famous scenes merited musical numbers, they were also trying to figure out how the stage could accommodate the fundamental elements of “Back to the Future” — like, say, a plutonium-powered sports car that can traverse the space-time continuum.Now this “Back to the Future” arrives on Broadway with some steep expectations: After a tryout in Manchester, England, its production at the Adelphi Theater in London’s West End won the 2022 Olivier Award for best new musical. The show also carries a heavy price tag — it is being capitalized for $23.5 million, according to a filing with the Securities and Exchange Commission.Throughout its development process, the people behind it — including several veterans of the “Back to the Future” series — tried to remain true to the spirit of the films and keep intact a story that has held up for nearly 40 years.Bob Gale, who wrote the original movie with Robert Zemeckis, said of the stage adaptation: “We didn’t want to reinvent the wheel. We just want to make the wheel smooth.”Nina Westervelt for The New York TimesAs Gale, now 72, put it: “We didn’t want to reinvent the wheel. We just want to make the wheel smooth.”But, he added, “It cannot be a slavish adaptation of the movie. Because if that’s what people want to see, they should stay home and watch the movie. Let’s use the theater for what theater can do.”Gale’s inspiration for “Back to the Future” came in 1980 after seeing a photo of his father as a teenager in an old high-school yearbook, and he has become a passionate custodian of the franchise. That role dates back to at least 1989, the year a notorious “Back to the Future” Nintendo game was released. “One of the worst games ever,” he said. “I was so horrified by that I actually gave interviews to tell people, ‘Do not buy it.’”In 2005, after Zemeckis and his wife, Leslie, attended a performance of the Broadway musical “The Producers,” the “Back to the Future” creators began to contemplate a stage adaptation of their film. They hired Alan Silvestri, who wrote the scores of the “Back to the Future” movies, to create new songs with Glen Ballard, the pop songwriter who had worked with Silvestri on Zemeckis’s 2004 film version of “The Polar Express.”Gale said that as he and Zemeckis started to meet with Broadway producers, “They said all the right things. But their agenda really was, let’s get Zemeckis and Gale off this and give it to our own people to do it.”That was something Gale said he would never allow to happen. “These characters are like my family,” he said. “You don’t sell your kids into prostitution.”Instead they enlisted the British producer Colin Ingram, whom Ballard had worked with on the musical adaptation of the film “Ghost.” They hired the highly sought-after director Jamie Lloyd, and then parted ways with him in 2014. “The creative differences and the chemistry just didn’t work,” Ingram said. (Through a press representative, Lloyd confirmed that his departure was a mutual decision over creative differences but declined to comment further.)Behind the scenes: The show’s designer, Tim Hatley, was charged with evoking the spirit of the beloved film.Nina Westervelt for The New York TimesNina Westervelt for The New York TimesNina Westervelt for The New York TimesUpon regrouping, the creators met with John Rando, who had directed “Urinetown” and “The Wedding Singer.” Rando said that after their initial meeting, “I grabbed Bob by the shoulders, looked him in the eye and said, ‘Bob, I love these characters. And I promise you I’m going to take really good care of them.’” Within a half-hour Rando said he got the call that he was hired.In conceiving “Back to the Future” for the stage, Gale said certain signature moments from the movie could never work: No scene of Doc Brown being attacked by disgruntled Libyan terrorists. (Now Marty speeds off in the DeLorean after Doc is overcome by radiation poisoning.) No set piece in which Marty races through the town square on a skateboard while the meathead bully Biff pursues him in a convertible. (Now the chase occurs on foot at school.) No pet dog named Einstein for Doc Brown. (Sorry, there’s just no dog.)A scene from the film where Biff is stopped before he can assault Lorraine remains in the show, though Gale acknowledged that this moment was “edgy.”“We want the audience to feel the jeopardy, and they do,” Gale said, adding that there were many elements from “Back to the Future” that might not withstand scrutiny if the film were being pitched today.Yet other familiar scenes presented opportunities for invention. Silvestri said he and Ballard were not given an exacting road map for where songs should go or what they should sound like. “We just kept trying to find our way,” Silvestri said. “It’s calling for a song here. It’s demanding music there.”The composers felt there had to be a rousing opening number to establish the show’s popped-collared, neon-colored version of the year 1985 and use the “Back to the Future” fanfare, and that became the song “It’s Only a Matter of Time.” There also had to be a love song for the smitten young Lorraine to serenade the enigmatic visitor she doesn’t realize is her own son, which yielded the doo-wop pastiche “Pretty Baby.”The curtain has lifted on “Back to the Future: The Musical,” but the creators of the franchise said they have no intention of pursuing more films.Nina Westervelt for The New York TimesThroughout the show’s development, there was a consensus that high-tech engineering and video projections would help recreate complicated scenes like Doc Brown’s perilous ascent of the Hill Valley clock tower during a fateful lightning storm.But Rando said he entrusted these elements to the show’s designer, Tim Hatley, and his production colleagues while the book, songs and performances were being nailed down.“They would keep asking me, ‘Hey, let’s talk about the clock tower sequence,’” Rando explained. “And I said, ‘Not until we get this musical right.’ And we would do readings and readings, and then finally there was a moment where we’re like, OK, now we can do it.”The actor Roger Bart, who has starred in musical comedies like “The Producers” and “Young Frankenstein,” was an early candidate to play Doc Brown. He landed the role with the help of a video audition in which he wore a lampshade on his head (to mimic a mind-reading device Brown uses) and sung the Talking Heads song “Once in a Lifetime.”Though Christopher Lloyd is associated with the Doc Brown character, Bart said he felt it was not his job to copy that performance.“I’m 60,” Bart said. “There’s a certain point where I have to go, I know I’m entertaining. I’ve been in front of enough audiences to know that. If you really get bogged down with that thinking, you’re going to paralyze yourself.”The best way to play Doc Brown, Bart said, is to honor the spirit of Lloyd’s performances, “which is to create the idea that anything can happen at any moment, by being unusual in your choices.”Casey Likes joined the show as Marty for its Broadway run, after making his Broadway debut last year in “Almost Famous.” He said that his mother often compared him to Michael J. Fox when he was growing up. (The actor, who is 21, was born 16 years after “Back to the Future” was released in theaters.)At his audition, Likes said, “I wanted to convey something that was reminiscent of Michael but not an impression.”He added, “I went with the kind of vocal inflections that he had done, while trying to deliver the bright-eyed, somewhere between cool and dorky thing that he did. And I guess it worked.”As the curtain goes up on this “Back to the Future,” its creators are hopeful that it is a faithful representation of the franchise — one that they say they have no intention of continuing cinematically. As Gale put it, “We don’t need ‘Back to the Future 18.’”For its stars, their day-to-day hopes are more focused on steeling their courage when they step into the show’s mechanical DeLorean and trusting it will execute its stunts consistently.With a wry chuckle, Bart said he’d rather not have a day of work that ends with anyone “being sent to the hospital while the stage managers say, ‘I’m so sorry, I can’t believe I called that wrong,’ and you go, ‘Oh, it’s OK, I have insurance, it’s all good.’ I don’t ever want to have that conversation.” More

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      ‘Back to the Future’ Musical to Open on Broadway Next Summer

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      The show, now in London, has a creative team that combines veterans of the film with some Broadway stalwarts. Performances will begin on June 30.Filmdom’s most famous DeLorean is getting ready to park itself on Broadway.A musical adaptation of the hit 1985 film “Back to the Future” is planning to open on Broadway next summer, its producers announced Friday. (Look at your calendar: Friday is Oct. 21, which is when devoted fans celebrate “Back to the Future Day.”)The musical, with a creative team that combines veterans of the film with some Broadway stalwarts, has already had a life in Britain.It had an ill-timed opening at the Manchester Opera House on March 11, 2020; that production closed a few days later because of the coronavirus pandemic. The show then transferred to London last fall, where it has had much better luck: It won this year’s Olivier Award for best new musical, and it is still running at the Adelphi Theater.The beloved science-fiction film, about a teenager who travels back in time in a DeLorean and disrupts the lives of his future parents, spawned sequels and a variety of spinoff ventures, and also contributed to the fame of its star, Michael J. Fox.“Back to the Future: The Musical” features a book by Bob Gale, the screenwriter who co-wrote and co-produced all three films, and songs by Alan Silvestri, who composed the film’s score, as well as Glen Ballard, a record producer and songwriter. The musical also includes pop songs featured in the film, including “The Power of Love.”The director is John Rando, who in 2002 won a Tony Award for “Urinetown.”Two members of the London cast have signed on to reprise their roles on Broadway: Roger Bart as the inventor Doc Brown, and Hugh Coles as George McFly, the protagonist’s father. Casting for the main role, of the teenager Marty McFly, has not yet been announced.The musical is scheduled to begin performances June 30 and to open Aug. 3 at the Winter Garden Theater, which is now home to a starry revival of “The Music Man” that is planning to close Jan. 1.The musical, with Colin Ingram as its lead producer, is being capitalized for $23.5 million, according to a filing with the Securities and Exchange Commission.Gale, who has been working on projects related to “Back to the Future” for more than four decades and is the de facto guardian of the franchise, said he is delighted to finally be working on Broadway, more than 15 years after Leslie Zemeckis, the wife of the film’s director Robert Zemeckis, saw “The Producers” and suggested “Back to the Future” could also be musicalized. “Broadway is the gold standard — musical theater was really invented there — and I’m delighted that we are finally going to get our shot on the Great White Way,” Gale said.Gale said the creative team has been making tweaks to the script and the set as it prepares for a Broadway run, incorporating lessons from the productions in England. They are small changes, he said, “but little things add up.”“One thing people appreciate about the movie: the more they watch, the more details they see,” he said. More

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      ‘Cabaret,’ Starring Eddie Redmayne, Sweeps Olivier Awards

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      The musical won seven awards at Britain’s equivalent of the Tonys. A puppet-filled adaptation of “Life of Pi” and a “Back to the Future” musical also won big.LONDON — A revival of “Cabaret” that has been the talk of London’s theater world since opening in December, on Sunday swept the Olivier Awards, Britain’s equivalent of the Tonys.Starring Eddie Redmayne in his first London role in a decade, “Cabaret” collected seven awards during a ceremony at London’s Royal Albert Hall. Its haul included best musical revival, best actor in a musical (Redmayne), best actress in a musical for Jessie Buckley as Sally Bowles, and best director for Rebecca Frecknall.Britain’s newspaper reviewers sometimes struggled for superlatives to describe “Cabaret.” Nick Curtis, writing in The Evening Standard, summed it up with a simple: “Wow. Just wow.”Matt Wolf, reviewing the show for The New York Times, said that Frecknall had made a “remarkable entry into musical theater” after several lauded stage productions here, including of Chekhov’s “Three Sisters” and Tennessee Williams’s “Summer and Smoke.” “Frecknall pulls us into a hedonistic milieu, only to send us out nearly three hours later reminded of life’s horrors,” he added.The musical has gained as much attention for its staging as its performances, with audiences made to enter the Playhouse Theater through a side door, only to discover the building has been transformed to look like a 1920s Berlin nightclub. Ticketholders — some of whom criticized sky-high ticket prices — have to work their way through a labyrinth of corridors filled with dancers and drinks to get to their seats.Redmayne, center, as Master of Ceremonies with the company of “Cabaret.”Marc BrennerOf the actors in its original cast, Redmayne won particular plaudits. Arifa Akbar, writing in The Guardian, said he was “electric,” adding: “He gives an immense, physicalized performance, both muscular and delicate, from his curled limbs to his tautly expressive fingertips.”The other big winner on Sunday was “Life of Pi” at Wyndham’s Theater, Lolita Chakrabarti’s adaptation of Yann Martel’s novel about a zookeeper’s son who, after a shipping accident, is stuck on a lifeboat at sea with only animals for company. It took five awards including best new play and best actor for Hiran Abeysekera, as well as a crowd-pleasing best supporting actor award for the seven puppeteers who bring a 44-pound puppet tiger to life onstage. Hiran Abeysekera won best actor for “Life of Pi,” and a best supporting actor award went to the puppeteers who bring the tiger to life onstage.Jeff Spicer/Getty Images For SoltReviewers had often singled out those puppeteers for praise. Dominic Cavendish, writing in The Daily Telegraph, said they made the tiger exude “a watchful malevolence and innate magnificence,” as he “moves from brute prowling threat to personality in his own right.”Some other shows did manage to get prizes at the Oliviers. “Back to the Future: the Musical” at the Adelphi Theater, a show that has grabbed attention for its flying car as much as its songs, won best new musical, beating shows including “Get Up! Stand Up! The Bob Marley Musical” and the London debut of “Frozen.”The best comedy play went to “Pride and Prejudice* (*sort of)” at the Criterion Theater, a fast and loose retelling of Jane Austen’s novel, which closed in February citing a lack of audiences returning to the West End.The other notable winner was a revival of “Constellations” by the Donmar Warehouse at the Vaudeville Theater, which took awards for best revival and best actress in a play for Sheila Atim. That 70-minute, one-act play, about a couple falling in and out of love, was a hit last summer as British theater came back to life after multiple lockdowns. More

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      In ‘Back to The Future: The Musical,’ the Car Is the Star of the Show

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      A devoted fan of the 1985 movie helped the London production’s creative team recreate the iconic time-traveling DeLorean, down to the last detail.LONDON — During a recent performance of “Back to the Future: The Musical,” at the Adelphi Theater here, the audience couldn’t stop cheering.They cheered a preshow announcement asking everyone to turn off their cellphones, “since they weren’t invented in 1985,” the year the original movie was released. They cheered when Marty McFly, the show’s main character (played by Olly Dobson), skateboarded onstage in an orange body warmer. And they cheered, again, when he started singing, surrounded by break dancers and women in aerobics getup to complete the 1980s vibe.But the loudest applause came about 20 minutes in. After three loud bangs and a flash of light, a DeLorean car seemed to magically appear in the middle of the stage, lights bouncing off its steel bodywork and gull-wing doors.The audience went wild.Bob Gale, who co-wrote the original movie with Robert Zemeckis and wrote the musical’s book, said in a telephone interview that he always knew the car would be vital to the show’s success. “We knew if we pulled it off, it was going to make the audience go nuts,” he said.He added he had been working on making that happen for over 15 years. In 2005, Gale recalled, Robert Zemeckis took his wife, Leslie, to see “The Producers” on Broadway — another musical adaptation of a cult film. As the couple left the theater, she asked if he had ever considered doing a “Back to the Future” musical. Neither Gale nor Zemeckis had any professional theater experience, but decided to give it a shot — yet finding a producer who would take the project on their terms took the better part of a decade, Gale said.Getting the car right didn’t take as long, but Simon Marlow, the show’s production manager, said it was still a yearlong process. There were two challenges: to achieve the impression of movement and speed on the cramped stage of a theater, and to make sure every detail of the car onstage matched the DeLorean in the movie. “‘The ‘Back to the Future’ fan base is massive, and they’re very pedantic,” Marlow said.Steven Wickenden poses with his replica of the DeLorean time machine, near his home in Deal, southern England.Jeremie Souteyrat for The New York TimesOnly about 9,000 of the stainless-steel cars were made at a factory in Northern Ireland before the company went bankrupt in 1982 (John Z. DeLorean, the company’s founder, went on to be tried, and acquitted, for trying to sell cocaine to prop up his firm’s finances). So Marlow’s team contacted Steven Wickenden, a “Back to the Future” superfan who lives in the seaside town of Deal, England. He owns a drivable replica of the movie’s DeLorean that regularly appears at fan events.Wickenden, 49, said in a telephone interview that he had loved the DeLorean since watching the “Back to the Future” movies on videocassette as a teenager. It was “so cool and futuristic,” he said. In 1980s Deal, a local greengrocer and a dentist had owned DeLoreans, he added. “As far as I was concerned, we had two time machines driving around town,” he said.When he was 21, Wickenden traveled to Universal Studios in Florida to see one of the film’s original cars, he said, and eventually his wife bought him his own as a 40th birthday gift.Wickenden said he was surprised when the musical’s producers got in touch. He put the car onto a truck — because, under the terms of its “classic car” insurance, allowed mileage is limited — and took it to Souvenir Scenic Studios, a London prop maker, where “six or seven guys” used 3-D scanners and took thousands of photos, to capture its likeness, inside and out, to use as the basis for the onstage version. (They called him later to check some details, like the original brand of the tires, he said.)Once the model was made, the show’s team had to “pack it with engineering,” Marlow said, including a device that allows it to spin on its axis (so it looks like it’s doing stunt turns) and pneumatic equipment that lets it tilt in the air (when it crashes into a farmer’s barn). Projections also help create the illusions of movement.“We’re pushing the technology to the limit,” Marlow said. He added that around 20 people had worked on developing the production’s car and associated visual effects.Creating the impression of movement and speed on the cramped stage of a theater was one of the show’s main challenges, a producer said.Sean Ebsworth BarnesAlthough the DeLorean is one of the most memorable features of both the movie and the musical, Gale said it wasn’t part of the original concept. In the first script he wrote, in the 1980s, Marty McFly climbed into a fridge to travel through time; he swapped the fridge for a car when the movie was in preproduction. In addition to its futuristic look, the DeLorean was notorious at that the time because of its maker’s cocaine trial, Gale said, so it seemed an attention-grabbing choice.At the Adelphi Theater, all the hard work on the car seemed to pay off. Ten audience members — many dressed as “Back to the Future” characters or wearing DeLorean T-shirts — said that the car had been a highlight. “I was in tears the first time I saw the DeLorean come out,” said Stephen Sloane, 43. “It’s just got the ‘wow’ factor,” he added.Yet for all the team’s painstaking attention to detail, Roy Swansborough, 44, said he had noticed a few differences between the stage and movie cars. “The steering wheel is slightly different,” he said. But his wife, Beverley, said he was splitting hairs. “If you don’t look too carefully, you can go, ‘Oh, it’s like watching the film,” she said.The only moment of the show when the actors seemed to upstage the DeLorean came right at the end. The cast all came onstage for a final song and dance number, and each player took their moment to claim an ovation. But the car didn’t get one of its own. Despite all the technical wizardry, the one thing it can’t do is bow. More