Theater review: 'Back to the Future,' a silly, high-octane blast at Kennedy Center (2024)

“Back to the Future: The Musical” really goes out to all the lovers of the 1985 movie. Now almost four decades later, Marty McFly’s time-traveling adventure has been turned into a whiz-bang production.

The national tour of the Broadway musical has landed at the Kennedy Center Opera House in Washington. And this family-friendly show simply dazzles at almost every turn. The special effects are bonkers in the best way possible, with video-game elements, bright flashes and sometimes sparks.

In the near faithful retelling, the film’s creators Bob Gale and Robert Zemeckis have punched up the story about a teen who goes back 30 years and runs into his parents as high schoolers — a move that would potentially alter the course of history and erase him from existence.

With some catchy tunes, an entourage of high-spirited dancers and lots of style, the musical adaptation of the beloved classic should win over the uninitiated or anyone born in the 21st century.

The show is fueled by strong performances from an eager-to-please cast.

A winsome Caden Brauch would make the film’s star, Michael J. Fox, proud. As Marty McFly, Brauch helps ground the musical with its over-the-top bells and whistles, bringing touches of warmth throughout the story. A lovely Kiara Lee, who has some brief appearances as his level-headed sweetheart, also helps in that department.

As Doc Brown, Don Stephenson is a hoot as the wacky, wild-haired scientist, who always seemed to be flanked by female dancers whenever he sings.

Burke Swanson, a native of Spotsylvania, brings out the laughs as the loose-limbed doormat George McFly, who’s afraid of rejection and shies away from confrontation. With his endearing performance, Swanson will have you rooting for the poor guy to stand up for himself. When George finally mans up against big bully Biff Tannen, it’s such a huge crowd-pleasing moment.

Other standouts include Zan Berube as Marty’s boy-crazy mom Lorraine, who has the hots for him when he — and not George — becomes the object of her affection; and Cartreze Tucker, who steals a few scenes as Goldie Wilson, the diner worker with big aspirations.

“Back to the Future” joins a long list of movie favorites that have gotten the flashy Broadway musical treatment over the years. Of course, in making the screen-to-stage transfer, a few things were tossed out the window. Radiation poisoning, not Libyan terrorists, is responsible for Doc’s hairy predicament, which sends our young puffy-vested hero in the DeLorean time machine to go find help. And Einstein, Doc’s adorable sheepdog? He’s a goner, too.

Joe Rando directs this breezy, light-hearted spectacle that’s loaded with nostalgia as it travels from Hill Valley, California, from 1985 to 1955. Scenic and costume designer Tim Hatley is behind the show’s playful and colorful looks.

However, it’s the special effects — and the cool car with wings — that really make this musical soar. Video designer Finn Ross and illusion designer Chris Fisher, along with Tim Lutkin and Hugh Vanstone on lighting and Gareth Owen on sound, take audiences along with Marty as he speeds through town and hits that magic number (88 mph) or with Doc as he climbs up the clock tower during a lightning storm in his attempt to send his “future boy” back home.

Joining other jaw-dropping moments in Broadway history, the flying DeLorean is almost up there with the flying carpet in “Aladdin” and the falling crystal chandelier in “Phantom of the Opera.”

“Back to the Future” isn’t without some bumps. Despite this vocally strong cast doing their best with the material, some of the songs by Alan Silvestri and Glen Ballard, are forgettable. Marty’s “Hello–Is Anybody Home?” is a nice enough song, but turns cringey when his brother repeatedly chimes in with “you want fries with that?” Faring much better are “Put Your Mind to It,” a delightful duet between Marty and his dad; “My Myopia,” a humorously touching song sung by George while he’s being a peeping tom; and Goldie’s big musical number “Gotta Start Somewhere.”

Not surprisingly, it’s Huey Lewis hits “The Power of Love” and “Back in Time” and oldies “Johnny B. Goode” and “Earth Angel” that will be the show’s most memorable.

This souped-up retelling of “Back to the Future” is a joyful return to one of the most iconic films in history. Don’t expect anything heavy here; it’s silly and fun and, above all, a good time.