Those of you who dove into science fiction back when may recall a short story by Ray Bradbury called A Sound of Thunder in which a time traveler steps off the path onto a butterfly and returns home to a totalitarian society. “The Butterfly Effect” (also called causal paradox) became a common idiom in literature and science. Film writers Robert Zemeckis and Bob Gale were among many inspired by the concept of consequences from past interference.

Roger Bart (Doc) and Casey Likes (Marty)

Colorful lighting circuitry covers the balconies and ceiling. On screen, a digital clock clicks backwards to 1986. Teenage Marty McFly (Casey Likes) visits the workshop of eccentric scientist friend Emmett “Doc” Brown (Roger Bart). Tim Hatley’s set design is just right, a chaotic amalgam of found, repurposed objects and bizarre constructions. Marty finds a note asking him to show up at the Twin Pines Mall parking lot at 1:15 a.m. The boy plugs an electric guitar into a giant speaker and blows a fuse. This awkwardly introduces us to the fact that he’s in a rock `n roll band. Girlfriend Jennifer (Mikaela Secada) encourages him. The first two numbers are generic.

Music is Marty’s refuge from what he considers a loser family: Mom Lorraine (Liana Hunt) is a frowsy alcoholic; dad George (Hugh Coles), a milquetoast bullied by supervisor Biff Tannen (Nathaniel Hackman); brother Dave (Daryl Tofa) is a mere delivery boy; and whiney sister Linda (Amber Ardolino who looks too old) can’t find a date let alone a mate. “My father doesn’t have a spine…hello, is anybody home?” Marty sings. (Good song.) Hugh Coles’ George is wonderful. His tightly strung voice, rat-a-tat laugh and jerky movement mines the best of the original character.

(L to R) Daryl Tofa (Slick), Nathaniel Hackmann (Biff), Will Branner (3D), Casey Likes (Marty McFly), George Coles (George McFly)

1:15. BOOM! The car appears. It’s fabulous. The outside is apparently 3D molded after a real DeLorean, then fitted with electronic bells and whistles, lights, speakers, and tilting wheels. Schematics appear onscreen. Doc sings “It Works!” surrounded by chorus girls. “Who are the girls?” Marty asks for all of
us. “They show up every time I start singing” comes the inane reply. Later there are more girls as well as a stage full of top hat and tails outfitted dancers NONE of which fit, all of which seem to say “we have no confidence in the song so will distract you.”  

The car, which answers only to Doc Brown, is powered by stolen plutonium, a major plot point in the film. (One line as to how that was managed would add.) Marty tapes his friend for posterity, but an accident injures the scientist. Without thinking the boy jumps in the car to alert a hospital. Already set to November 5, 1955, the day Doc conceived of time travel, the machine takes off in a whoosh! We see blurred landscape pass as the car turns. Effects are terrific. The vehicle crashes into a hay barn and can’t be started again due to the voice recognition feature and, whoops, lack of plutonium. Marty wanders into 1955 Twin Pines.

(L to R, Top) Victoria Byrd, Jonalyn Saxer, Becca Peterson, (L to R, Bottom) Casey Likes (Marty McFly), Liana Hunt (Lorraine Baines)

He inadvertently meets his high school age father bullied even then by Biff Tannen, then, underdog soda jerk Goldie Wilson (Jelani Remy,) who will eventually become mayor. A lindy-hop production number, serving only to stall narrative, fills the diner with dancers.

Here’s where the butterfly kicks in. After accidentally interfering with his parents “meet cute,” Lorraine crushes on Marty, not George. Her future son is appalled to think mom “hot.” She’s inextricably drawn to him. “There’s Something About That Boy.” The hero tracks down Doc. They concoct a plan racing against time. If Marty doesn’t get Lorraine and George together at the Enchantment Under the Sea Dance (great decorations), never having been born, he’ll literally disappear. Even assuming that, can Doc jerry-rig the car without an incredible power source?

Casey Likes (Marty) and the Cast

Infinitely better, Act II is a series of bungled best-laid-plans and glimpses of what people in Marty’s life were like before they became what they are in 1986. Music and lyrics are apt; numbers with 1950s vibe are fun. The scene in which Doc executes his strategy to get Marty home is marvelously cinematic. Results of his behavior “off the path” are amusing.  We end with Chuck Berry’s “Johnny B. Goode,“ written three years after ’55, and “The Power of Love” (Huey Lewis & the News) as a nod to the film in which it was featured. The two songs outshine any of the 17 that precede. (An encore number arrives “also ran” after the right finale.)

The piece is an innocent and uplifting tonic, but could be so much better. Special effects: Gareth Owen, sound; Tim Lutkin and Hugh Vanstone, lighting; Finn Ross, video; Chris Fisher, illusion designer, and the masterful Tim Hatley, designer. They offer a feast of what can be done with focus, imagination, budget, and a keen eye on plot. Sitting in a tree and walking the ledge of a clock tower are equally creative. Hatley’s costumes are just right. Fight director Maurice Chan makes everything look like it’s happening in real time.

Roger Bart (Doc) on the Clocktower

Director John Rando imbues the piece with popping energy. Lorraine’s primping as she looks outside her window, however, would indicate a mirror floating in air.

Casey Likes comes off a bit too savvy for one’s notion of Marty. The actor exhibits a single expression for “WHAT?!”, but has a fine pop voice and moves well.

Roger Bart (Doc) is back in one of the quirky roles for which he’s best known. Bart’s style seems to be throw everything against the wall and see what sticks – like spaghetti – then judge whether it’s cooked. He can be trope funny or push too hard.

Liana Hunt’s Lorraine is lovely. We believe her as a nice girl, high school senior with raging hormones. She has a warm accomplished singing voice. Also with an excellent voice, Jelani Remy’s turn as young Goldie arrives effervescent.  Nathaniel Hackmann is perfectly awful (compliments) as Biff – lumbering, egotistical, mean.      

Photos by Matthew Murphy and Evan Zimmerman

Back to the Future-The Musical
Music and Lyrics by Alan Silvestri and Glen Ballard
Book by Bob Gale
Based on the Universal Pictures/Amblin Entertainment film written by Robert Zemeckis and Bob Gale
Directed by John Rando

Winter Garden Theatre  
1634 Broadway

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