Back to the Future: DeLorean Takes Flight in UK & US Tour
The iconic time-travelling DeLorean is back, and this time, it's not just speeding down the road - it's soaring through the air, taking audiences on a nostalgic journey to the future of theatre. The stage adaptation of "Back to the Future", a musical based on the beloved 1985 film, is currently captivating audiences in London's West End, on Broadway and on a nationwide tour across North America.
Bob Gale, co-creator, co-writer and co-producer of the original film trilogy, and now book writer, co-creator and producer of the 2020 stage adaptation, shares his passion for the show by greeting fans at every performance. He was particularly touched by one woman in London who revealed she attends the musical every week, having already seen it 19 times.
"Doesn't that get expensive?" Gale inquired, to which the woman explained that the cost of tickets to "Back to the Future: The Musical" had replaced her therapy sessions. "I'd been seeing a therapist, and every time I went to a therapy session, I felt really depressed," Gale recalls her saying. "But then I went to see your show, and I felt great afterwards."
This heartwarming anecdote underscores the musical's aim to bring joy and escapism to audiences. The tour, which began in Cleveland in June, is expected to visit 25 cities across the US and Canada, and will be making a stop at Chicago's Cadillac Palace Theatre in August.
The musical features new music and lyrics by Emmy and Grammy Award winner Alan Silvestri, composer of the film scores, and Grammy winner Glen Ballard. It premiered at the UK's Manchester Opera House in February 2020 and, after a pandemic-induced delay, transferred to London's West End, where it received the 2022 Olivier Award for Best New Musical.
The stage version follows the familiar sci-fi plot of the film, with high schooler Marty McFly (played by Caden Brauch on tour) travelling back to 1955 in a time machine invented by his eccentric scientist friend, Doc Brown (Don Stephenson). But before he can return to his own time, Marty must ensure the survival of his future family by playing cupid to his teenage parents (Burke Swanson and Zan Berube).
Given the iconic visual elements of the film and the high expectations of its dedicated fanbase, the production called for a team of experienced creatives. John Rando directs, while set and costume designer Tim Hatley assembled a team of industry leaders, including Tim Lutkin and Hugh Vanstone (lighting), Gareth Owen (sound), Finn Ross (video) and Chris Fisher (illusions).
"They're the best in the business," Hatley says of the design team. "It was a very collaborative process. Out of all of the projects I've done, this was a very happy family, and I think it shows in the work."
One of the key challenges for the team was to bring the iconic DeLorean to life on stage. The designers decided on using a real prop car, but with a "shopping list" of specifications, including moving wheels, working lights, speakers, CO2 jets, space for an actor to sit in the driver's seat, an interior replicating the film version (including the flux capacitor), and the ability to tilt, revolve and fly.
"I wanted it to be danced on," Hatley says, acknowledging the musical nature of the production.
With the support of the producers and engineers, the team achieved their vision for the DeLorean. They also collaborated to create another visually stunning element: the clock tower that features in the climactic storm scene.
"If you watch the film, that's a very, very pacey, suspenseful, memorable, brilliant sequence," says Hatley. "I wanted to borrow and adopt some of the cinematic language and say, 'How can we get that cinematic world into the theatre without just showing a film? How do we make it 3D? How do we make it really special to a live audience?'"
The solution combines video, lighting, moving scenery, the DeLorean itself, and key contributions from illusion designer Chris Fisher. Fisher, with a background in stage management and a lifelong passion for magic, brings his unique expertise to the production, having previously designed illusions for shows like "Harry Potter and the Cursed Child."
"The thing about illusion is you have to cross-departmentalize pretty much every single department in the show," says Fisher. "You need to really understand lighting, set, costumes, props, automation, all of it."
The intricate stagecraft of "Back to the Future" is a massive undertaking, and Hatley and Fisher are proud that the touring version matches the high standard of the London and Broadway productions, while boasting even more impressive elements.
"Every single time we've done it, we've improved," says Hatley. "Each incarnation has got better in many areas, and that's really exciting."
For Bob Gale, the musical's international success is a dream come true. "I pinch myself constantly," he says. "Every writer's dream is to write something that can have a profound effect on people, and that we can at least believe is going to live longer than we do. I am absolutely blown away by the love that people have for this story."
"Back to the Future: The Musical" plays from 13 August to 1 September at the Cadillac Palace Theatre in Chicago. Tickets are available at broadwayinchicago.com.
