Now on stage at the CAA Ed Mirvish Theatre, 244 Victoria Street
“Great Scott! ‘Back to the Future’ is a theatrical gift of a spectacle. Theatre purists may not understand or accept that, but that’s just the way it is. ‘Back to the Future’ is what Canadian audiences need right now, in this chaotic and turbulent world of tariffs. It’s loud and busy, but Mirvish gives audiences what they want for worthy summer fare.”
The setting is Hill Valley, California, October 25, 1985. Marty McFly (Lucas Hallauer) visits his friend, Dr. Emmett “Doc” Brown (David Josefsberg), at the latter’s vacant laboratory. Initially, Marty appears to be conversing with Doc, but it is soon revealed that the young lad answers to voice feedback from an oversized amplifier. While playing a ‘souped-up’ ukulele, Marty inadvertently damages the equipment. He auditions for a talent contest at his high school but is unsuccessful. His girlfriend, Jennifer Parker (Sophia Yacap), offers encouragement and urges him to continue pursuing his music and remain hopeful. With a playful nod to composer Huey Lewis (who sang the film’s theme song, ‘Power of Love’), Jennifer says her Uncle Huey is interested in hearing Marty’s music.
Marty returns home to his family, where they each face their challenges. His father, George (Mike Bindeman), a mild-mannered man, works tirelessly for his demanding boss, Biff Tannen (Nathaniel Hackman). His mother, Lorraine (Zan Berube), struggles with alcoholism. Older siblings, Dave (Fisher Lane Stewart) and Linda (Lizzy Marie Legregin), each display unique quirks. After leaving his family, Marty visits Doc’s residence. Through unforeseen circumstances involving Doc’s time-travelling DeLorean car, Marty is transported thirty years into the past to 1955, where he becomes entangled in a complex situation involving his parents, George and Lorraine. He must also contend with the high school bully, Biff Tannen.
Adapted from the 1985 Robert Zemeckis film, Bob Gale’s Book follows the story reasonably well. Some minor changes are necessary for a live staging.
It is sometimes unclear what audiences experience when specific film productions are adapted for the stage. Are we watching a film or a play/musical? The line between the two becomes increasingly blurred, which may be a point of discussion (apprehension?) for those who favour traditional theatre practices.
As Bob Dylan once sang: “The times they are a-changin” in the theatre industry of the twenty-first century.
Why not adapt now and then, and give the audience what it wants and needs (even popcorn), especially in this time of our chaotically charged, tariffed world?
There’s nothing wrong with doing that.
Yes, the theatre is widely regarded as a respected institution. However, it is equally valid to appreciate it for engaging entertainment. Mirvish demonstrates strategic insight by acknowledging the pragmatic aspect of the industry that is essential for its survival.
We should, too.
Lighting designs by Tim Lutkin, Hugh Vanstone, and Finn Ross’s sophisticated video projections create a striking visual effect reminiscent of Las Vegas within the Mirvish theatre atmosphere. The production’s opening night underscores how technology continues to shape the performing arts in the twenty-first century. The stagecraft involved in depicting the DeLorean’s journey to 1955 in Act One and its return to 1985 in Act Two demonstrates remarkable technical achievement, leaving a lasting impression. While the overall sound level is notably high—comparable to that of a cinema—Music Director Matt Doebler ensures moments of musical clarity, particularly in ‘Wherever We’re Going’ performed by Yacap and Hallauer, and Josefberg’s rendition of ‘For the Dreamers.’ Choreographer Chris Bailey delivers several impressive dance sequences, with the Act Two performance of ‘Johnny B. Goode’ standing out as a highlight.
One strong quibble – please, please, please…a note to Sound Designer Gareth Owen – I can’t hear the full company numbers as the orchestra drowns out the singers. Please, can something be done to rectify this? I would like to hear Alan Silvestri and Glen Ballard’s lyrics as they are part of the story.
Director John Rando understands what it means to give the audience what it wants. He wants us to have fun. He wants us to be kids again and imagine what it’s like to time travel. And to see things fly. Spoiler alert – if you can recall what happens at the end of the film, the exact thing happens on stage. It’s magical when that happens. I was taken back 30 years ago for a few moments.
The touring cast demonstrates impressive enthusiasm, agility and stamina.
Lucas Hallauer and David Josefsberg bear a visual resemblance to Michael J. Fox and Christopher Lloyd from the film. However, Hallauer and Josefsberg’s performances deliver distinct interpretations that capture the evolving mutual respect between their characters. Noteworthy supporting roles include Sophia Yacap as Jennifer, who delivers strong vocals and whose abilities could have been given further opportunity to shine. Mike Bindeman brings an engaging quality to his portrayal of George McFly, transitioning from a bumbling figure in “My Myopia” to a more assertive character, especially in his confrontation with Biff Tannen—a role handled adeptly by Nathaniel Hackmann. Zan Berube’s comedic portrayal of Lorraine’s fascination with Marty, particularly regarding his ‘Calvin Klein’, stands out as a highlight of the evening. Under choreographer Bailey’s vision, the ensemble excels in executing dance routines with precision. However, sound design needs to be balanced between the ensemble’s voices and the orchestra.
Yes, take a trip to the CAA Ed Mirvish Theatre and go back to the past and then the future.
It’s worth the well-deserved ride.
Running time: approximately two hours and 40 minutes with one interval/intermission.
The production runs until August 31 at the CAA Ed Mirvish Theatre, 244 Victoria Street, Toronto. For tickets: mirvish.com or call 1-800-461-3333.
DAVID AND HANNAH MIRVISH present
‘Back to the Future, the Musical’ North American Tour
Book by Bob Gale with Music and Lyrics by Alan Silvestri and Glen Ballard
Based on the Universal Pictures/Amblin Entertainment film written by Robert Zemeckis and Bob Gale
Directed by John Rando
Choreographer: Chris Bailey
Music Director: Matt Doebler
Sound Designer: Gareth Owen
Lighting Designers: Tim Lutkin and Hugh Vanstone
Video Designer: Finn Ross
Illusion Designer: Chris Fisher
Designer: Tim Hatley
Performers: Davi Josefsberg, Lucas Hallauer, Mike Bindeman, Zan Berube, Cartreze Tucker, Nathaniel Hackmann, Luke Antony Neville, Sophia Yacap, Joshua Blackswan Abbott, Emily Applebaum, Gregory Carl Banks, Jr., Tade Biesinger, Zachary Bigelow, Ina Black, Brittany Bohn, Alyssa Carol, Jenny Dalrymple, Steven Eckloff, Anthony J. Gasbarre, III, Lizzy Marie Legregin, Tay Marquise, Giovanna Martinez, Fisher Lane Stewart, Ross Thompson
