The overall effect is cute and pleasantly kitschy, even if it is something of a repeated joke. This self-awareness is built on in the second half as cheerleaders bop with pom-poms and dancers in top hats and tails appear from nowhere. The second half becomes increasingly offbeat early on, Doc observes that a chorus line of dancers appears on stage every time he begins singing.
The graphics alternatively leave us feeling as if we are inside a giant arcade game or a 3D film, but it is a striking integration of forms nonetheless.Įven more off-the-wall … Roger Bart as Doc. The show seems like a mashup of theatre and film: it begins with Steven Spielberg-style action movie music, while screens are used in filmic ways, including one rolling down for “The End”). Roger Bart’s “Doc” Emmett Brown begins the same way but his characterisation grows distinctive quirks and he ends up as an even more off-the-wall creation than Christopher Lloyd’s zany original.
The cast appear to imitate their film counterparts: Olly Dobson’s sweet, hapless, Marty McFly looks and acts like Michael J Fox and Hugh Coles’s George McFly replicates the gestures of his original, as do Marty’s mother, Lorraine (Rosanna Hyland), and the school bully, Biff (Aidan Cutler). The book by Bob Gale (who wrote the film with Robert Zemeckis) keeps the film’s best lines, and even with the addition of 16 new songs (music and lyrics by Alan Silvestri and Glen Ballard), it seems like a show stuck in time, too uncannily like the original (though there is one functional plot change). Beyond the car’s star turn, this is an eccentric show, directed by John Rando, that is partly an ode to the film but also a tribute act that speaks to its own theatricality. The DeLorean revs, races, lifts off, and gives almost as much backchat to Marty as Knight Rider’s sassy Kitt.
An eccentric show … Olly Dobson as Marty McFly and Hugh Coles as George McFly.
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