Back to the Future: The Musical is a carefully faithful spectacle.
simply tries to hold up its plutonium-weight source material. There are a few mild edits: Doc, instead of being attacked by a group of Libyan terrorists, now suffers from radiation poisoning, and Marty’s 1985 girlfriend, Jennifer , is still absent from most of the story but joins in to sing across-the-decades harmony for a duet in the second act.
That fidelity ties down the actors, who each have to deliver a performance really close to someone else’s. Casey Likes, who’s playing Marty and happens to be on his second movie-to-Broadway gig as a relatable white-guy audience stand-in after, works hard to do almost everything Michael J. Fox did. He adopts the upward-lilting line delivery and keeps his center of gravity a few feet ahead of him, entering a scene as if he has just sprinted over from across the street.
That’s where the songs, theoretically, could come in. Ballard and Silvestri have written some big ’80s power numbers and cutely ironic ’50s doo-wop , but how could they ever stand up against the old soundtrack? The musical incorporates not just “The Power of Love” and “Johnny B. Goode” but the distinctivefrom Silvestri’s soundtrack, which pop up as underscoring onstage. They stick like cooked spaghetti in your memory while everything new slides right off.
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