Back To The Future: The Musical

(seen at the second preview performance, afternoon 21st August 2021). Some actors have now left the cast.

Great, Scott? Depends a bit if Scott is a once-a-year or fewer visitor to West End shows, a regular or a professional reviewer, thinks the monkey.

Assuming Scott is the first, he’s going to love it. A cherished classic movie is filleted by Bob Gale to create an amusingly engaging storyline. Alan Silvestri and Glen Ballard drop in songs to which Chris Bailey adds energetic 80s dance routines for an appropriately dressed ensemble.

Tim Hatley, Tim Lutkin, Gareth Owen, Chris Fisher and Finn Ross create scenery, video, sound, lighting, and special effects which keep the show kinetic and add both wit and “wow factor” throughout the evening.

Olly Dobson (Marty McFly) and Roger Bart (Doc Brown) match their screen counterparts – with added song-and-dance ability. A confused teenager / eccentric genius double act who make carrying the show together look effortless (once Doc can get his helmet on – preview problem, in joke!). Bart could potentially be in the trophy line – and not just for “Best Flux Capacitor.”

There’s outstanding work too from Aidan Cutler as bully Biff, menacing meathead par-excellence. His victim Hugh Coles (George McFly) demonstrates his acting versatility in his final scene, while wife Rosanna Hyland (Lorraine Baines) makes a lot of a very small role supporting him and put-upon sister Emma Lloyd (Linda McFly).

Outside of the family, Cedric Neal in the dual role of Goldie Wilson and Marvin Berry should also be checking his inbox at awards time.

The ensemble is well-drilled, with an energy probably powering the lighting around the proscenium. The monkey was particularly delighted to note Bessy Ewa and Nic Myers among them. It saw them both in their Arts Ed graduation show “Freaky Friday” just weeks before their career-paths crumbled before their eyes. The joy in seeing them book wonderful West End roles is endless.

So, Scott, his family and friends will leave the theatre having had a pretty great time. The show will suit particularly families with teenage boys who show no inclination towards anything except technology – if they don’t connect with this, nothing will help until those hormones settle down in around 10 years or so.

And then we come to the theatre regulars and professional reviewers. The main question they will probably ask is “why did anyone think it was a particularly good idea to make the successful movie into a stage show in the first place, let alone a musical?”

On the plus side, the storytelling is possibly superior to the film in trimming off excesses. The show zips along without lag, and whether you choose to appreciate the decently choreographed dance routines as stops along the way or find them unwanted interruptions is personal choice.

The brutally frank musical afficionado may feel that there isn’t a new song in the show which sticks in the memory longer than five minutes. “It Works” is probably the best, but further in there are some real mis-fires, notably the 11’O Clock number “For The Dreamers” which lacks the pathos to sell its idea as intended. The rhyming dictionary is a little too often at hand, though mostly deployed to bring needed levity.

This all alas lends a coldness to proceedings for most of the show as the music fails to assist in building much relationship between audience and characters. That seems to be assumed - and with many of them hardly on-stage for much of the night, it is impossible to grow it through the evening.

For the monkey, it makes the show feel at times reduced to a bit of a two-hander. There are too few opportunities for the female characters to shine, leading to something of an imbalance which multiple “ladies’ only” dance routines do not really redress.

The main saving grace of the show for the regular theatregoer is that it is done with good humour, some neat visual gags and self-awareness. The trouble is that it goes too far at times (could have done without the virus material, though the audience loved it) and there are many ancient theatrical tropes and effects which are fun only for those who have never seen them before. Still, odd outbursts of genuine raucous laughter assist greatly, particularly towards the end.

Given that it does exactly what the wonderfully themed foyer promises, providing a little time-travel to an entertaining place, the monkey would say it is looking at a very popular hit with the public, if not one with the professional reviewers - just going by the audience reaction around it.

This will probably disturb the time-continuum of the Adelphi for at least a year or two and should be on the list of any family whose own Marty and Linda need educating in just what their parents didn’t do, and the consequences of it.

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Add Your Own Review

Get to the theatre early (assuming the most chaotic queue management I've experienced in years allows time to look) to see the foyer.  It's an utter delight, transformed into a replica of Hill Valley.  And the theatre?  You're in a giant Flux Capacitor! 

I wonder if there was anyone in the audience who had NOT seen the original film?  The massive applause, just because the opening credits appeared on stage - suggests a congregation of fanboys and fangirls.  Those opening graphics? Pure 80s (fans of Hitchhiker's Guide will have looked fondly at them), leading in to a fine replica of Doc Brown's house.  We all know what comes next... and they stage it to perfection.

But this isn't a slavish replica of the film.  The narrative has been trimmed and tightened (everyone will have a line or two they miss, but they've kept most of the important stuff),  the special effects are mindboggling (the DeLorean rivals Aladdin's magic carpet in the "How did they do that?" stakes), the staging and each set is spot on, the lighting is perfection.

The actors?  Olly Dobson (Marty) and Roger Bart (Doc - who needs to put up a new shelf at home for the plethora of awards he is going to win) recreate our two heroes perfectly, bouncing off one another with glee (both were grateful for a handy prop to hide behind and battle the giggles).  Hugh Coles IS George McFly - he captured every characteristic and when he (spoiler alert... who am I kidding, we all know the story) saves Lorraine (Rosanna Hyland, squeezing every ounce out of a part that gives an actress all too little to work with) he shows his range of acting chops.  And Cedric Neal in the dual role of Goldie Wildon/Marvin Berry should also be putting up a new award shelf.   And BTTF wouldn't work without a strong Biff. Aiden Cutler gets it just right, pairing aggression with stupidity.

The choreography is elaborate but fits and is perfectly executed.  The whole ensemble - many of whom make their West End debuts (I was delighted to see one or two performers I've seen in other productions taking the next step) - deserve recognition for their energy.

Clearly no expense has been spared putting together this production... except for on the score.  This is a talented songwriting team, yet there isn't a memorable number (this is a soundtrack I won't be buying), and isn't the point of a song in a musical to move the show forward? Too often the song told you what you already know (the song that establishes Marty and Jennifer are boyfriend and girlfriend... just after a conversation that said this).  And there didn't seem to be a coherent score template or musical theme.

And what were the Star Wars references about?  The lightsabre was fun but pointless... and the opening number of the second half, a dance number held in the cockpit of the Millenium Falcon?  It did absolutely nothing to progress the story, it was a weak number, though it did give the ensemble the chance for a complex dance routine that showed Roger Bart can pull some shapes.  It must have cost a lot to stage, money worth spending somewhere else.

This show could have been staged as a play, with the occasional song where needed (obviously Power of Love) and would have been all the better for it.  But then, would it have fallen victim to the Fanboys/Fangirls picking it apart as every line was compared to the film?

The show is high energy, it's fun, it's definitely worth seeing and I'd guess a lot of people will go back again.  Yes, it's flawed, but overlook them and enjoy the energy of the cast, the stunning effects and the overall joy of a great film brought to the stage. But save your money on the soundtrack album.

Seat Review:
Stalls B8 & 9:
Very close to the stage.  For this production (the stage is high) you are looking both up and across which can get uncomfortable.  Thankfully there were some empty seats next to us, at the interval we moved to B11 & 12; moving that bit more central meant you were looking straight ahead (still upwards), a far more comfortable experience.  Shorter theatregoers will lose the back of the stage, taller ones will still lose the very front.  All four seats were very comfortable (not a fidget) and legroom is decent.

(Bob Pickett).
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Upper circle E16 to 19. Central, right in the middle of a row so slow to get in and out as there is no central aisle. Not much legroom but could have been worse (see above lol!). Very low seats but a steep rake. Reasonable view which was impacted by people in front leaning forward at some points. Don’t think we missed much by being high up as it was still very spectacular and impactful. The sound was also excellent. 

I can't pretend to have been too excited by the music but goodness, the effects in this were outstanding I thought. It was also very hot in the theatre so wear layers! 
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Stalls F3: Pretty good view for being on the side. Missed a tiny bit on the side close to me but didn't matter at all. Good legroom. Would sit here again!
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Seats 04 and 5 stalls: Great seats had a perfect view.

Absolutely fantastic show, love how they have put shops signs from the film in the foyer to set the scene.

All the performers captured the humour and physical comedy of the film, no lulls.

Special effects were the best I have seen during a theatre performance, standing ovation for the impressive finale.

Tickets are currently on sale for less than £20 but I would have happily paid more as it was such a good show. I am hoping that they also turn the sequel into a theatre show. 

Songs were well performed but couldn't tell you any lyrics - so not a musical that you just randomly get the lyrics/tune in your head after seeing.

Adelphi toilets very smart and no queues before or during interval in Ladies. 
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Stalls O27: Surprisingly tons of legroom. Very good view, no obstructions. TodayTix day seat for £25.
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Upper Circle D14 and D15: we got these discounted tickets as part of the OLT New Year Sale, and these were great value. Clear, central view of the stage (you only miss the very top, which doesn’t matter for BTTF; the odd head when people in front lean or turn to follow the action), and you don’t feel far from the action at all. Rake is steep, so it’s not great if you don’t like heights, and the legroom isn’t comfortable if you are above-average height.
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Stalls K33: (Broadway John). Good view. Tons of legroom! Found the seat uncomfortable. Quick access to men's room!
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Grand Circle seats G6 to 8: Clear view of the stage, legroom is quite poor and the seats are very low down. Good for the claustrophobics who don't want to be in the middle of a very long row, as there is no central aisle."

Interesting that we went to this about 3 years ago - I'd forgotten how much I didn't like it tbh, but the tech seemed a lot less impressive this time around. It was still great, but I think things move on so quickly that it dates and you get used to more impressive gimmicks. I also have a way too critical eye lol.
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I sat in A5 in the upper circle, for £16 in a today tickets 'drop' for Back to the Future. It was a great seat. Unlike many front row circle seats I didn't need to lean forward at all (except at the very very end - no spoilers!). It's probably tight for legroom but was fine for me (I'm 5'4). And because there is no one next to you it feels a bit more roomy and airy. I'd sit here again! 

The monkey advises checking performance times on your tickets and that performances are happening as scheduled, before travelling.

Run Time:	2 hours 40 minutes including one interval
Monday:	7.30pm
Tuesday:	X
Wednesday:	7.30pm
Thursday:	2.30pm, 7.30pm
Friday:	7.30pm
Saturday:	2.30pm, 7.30pm
Sunday:	3pm

Venue Box Office & Current Prices

020 3925 2998
Venue box office details and show price charts are available on the Adelphi Theatre page.

TodayTix

TodayTix charge between 10% and 20% booking fee per ticket. Discounts are often available as this is a large global ticketing company with this specific aim.

Ticketmaster

Ticketmaster charge around 8% to 10% booking fee per ticket. Handling fees may also be added. This is the largest ticketing agency worldwide.

London Theatre Direct

Londontheatredirect.com charge between 10% and 25% booking fee per ticket. Discounts are frequently available. Part of Trafalgar Theatre Group, known for customer service and unique offers.

See Tickets

Seetickets.com charge around 10% booking fee per ticket, plus £2.75 per booking (not per ticket) postal charge. They are owned by ticketing group Eventim.

LoveTheatre.com

LOVEtheatre charge around 10% booking fee per ticket. They are owned by Ambassador Theatre Group (ATG) and often have good deals on shows at ATG venues.

Location: Box office discretion
Availability: Box office discretion
Price: £25
Notes: RUSH TICKETS: App Todaytix are offering £25 "Rush tickets," located at venue discretion, for all performances. Released for the performance on that day, first-come, first-served. Download the App from Todaytix. Reader reports: 27th November 2021: Decided to try my luck in person. Box office, said the "day seats" were Todaytix only & he couldn't help me at all. March 2023: You can get £25 tickets for the first row if there is any left, so do it in advance online.

Venue: Adelphi Theatre
Address: The Strand, London, WC2R 0NS
Box Office: 020 3925 2998

More details: Seats to buy or avoid at this venue plus travel information and other details can be found on the Adelphi Theatre page