Time Games | "Back to the Future: The Musical" @ BIH/Pantages

[cahwyguy]

As I mentioned in my writeup of American Idiot at CTG, yesterday was a two-show day. After leaving the Music Center, we had a wonderful dinner at the all-gluten-free Lebanese restaurant Levant, shopped briefly at Gelsons on Franklin, and then dropped down to the Pantages to see Back to the Future: The Musical.

By now, everyone should know Back to the Future. It is repeated endlessly on TV, and if you don’t know the story, I’m sure you can turn on your TV and find it somewhere, together with Casino, the Men in Black series, and The Godfather. TV is endless rotation hell; when was the last time you saw The Sterile Cuckoo or Murder by Death?

So before we go into the production itself, lets talk about the connective tissue of the day: The perspective of Time. I noted that, for American Idiot, the recent campaign and the election of Donald Trump gave a different perspective to the lyrics of Billie Joe Armstrong and Green Day. The anger and the pain take on new meaning in the Trump era of hate, and the anger against the media and their bias rings ever more true.

But what about Back to the Future: The Musical. There is also perspective there: Marty gains a new perspective on his parents. He learns to see them as people. His mom was a normal horny teenager. His dad was a typical teenage boy, peeping at girls, trying to be popular (and failing). This is a useful perspective to have. Again, I’ll tie it to this weeks election. As I look at people, I try to see them with that perspective. We were all little kids once. Imagine people as those little kids, working their way through elementary school, middle school, and high school. They weren’t always the haters and grumpy cats they are today. Alas, some of the them never grew out of being the hurt bullies seeking attention. But for many, the perspective of seeing them in the past may at least help us in these trying times.

The perspective of time. The notion that ties together these shows.

But beyond that, what about the musical itself? Truthfully, there isn’t much to say. It is a trifle. A light dessert that really doesn’t fill you up. It’s not bad, but it isn’t memorable. There are no songs (save those from the movie) that are earworms or significant. There are some changes from the movie due to the changes in the perspective of time (Libyan terrorists become stolen Plutonium; the carload of manure becomes a laundry basket). Actors are limited by the movie and the expectations of the audience to caricature the performances of the movie actors. They come close.

The musical also does not have legs nor will it likely have a long production life after the tour. It is very dependent on the magic of production, especially the magic of projections and the Delorian. It is unlikely you’ll see this at the regional or community theatre level.  Put it in the same class with Pretty Woman, Tootsie, and Mrs. Doubtfire (and possibly even Beetlejuice). The only reasons these were made into musicals was the chasing of profit. The stories themselves didn’t cry out for musicalization. Note to the studios: Not every property belongs on stage.

This is not to say that Back to the Future was bad. It wasn’t. It was entertaining, and very funny at points. It just wasn’t memorable. Contrast this with Hamilton or Wicked or Come From Away or even American Idiot. There are things in those show that make them worth a return visit. BTTF? Once is plenty. About the only thing original and memorable is the song “Something About That Boy“.

The recent Kimberly Akimbo had similar problems, but was redeemed by the fact that (a) it actually had a point to make; (b) was more of a unique story, being based on a play vs. a movie. But the bulk of the songs weren’t all that memorable.

One additional note: This time dealing with BIH Subscriber Services (although it is out of their control): Parking lots in the area (especially when you pre-book with Parkwhiz) have reduced their time blocks to start at 7:00pm, making it hard to get dinner before the show. The El Centro garage has changed their system to use QRs codes and stored license plates. I’m going to guess that Eastown garage did the same, as they have the same time limitations. Parking is also overpriced in the area (contrast $25-$40 to the $10 at the Ahmanson). I’m looking forward to the day that my wife’s leg is well enough that we can take Metro again and not have to worry about parking. On the plus side, the Pantages was easily able to change our seat to one with the necessary legroom (platform on the right), although it did limit our view of the stage slightly.

Back to the Future: The Musical continues through December 1 at the Pantages. Is it worth seeing? Did you like the movie? If so, you’ll probably enjoy this. It’s not a stinker like Girl from the North Country or The Bodyguard, but it is also not particularly memorable. Things should be better with Shucked or Some Like It Hot. Tickets are available through the Pantages.

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Back to the Future: The Musical. Book by Bob Gale. Music & Lyrics by Alan Silvestri & Glen Ballard. Based on the Universal Pictures/Amblin Entertainment fil, written by Robert Zemeckis & Bob Gale. Directed by John Rando. Choreography by Chris Bailey.

Cast (All performers are ӕ Actors Equity; underscored performers indicate performers at our performance): Don Stephenson Doc Brown; Caden Brauch / Fisher Lane Stewart Marty McFly; Burke Swanson George McFly; Zan Berube Lorraine Baines; Cartreze Tucker / Joshua Blackswan Abbott Goldie WIlson / Marvin Berry; Ethan Rogers Biff; Luke Anthony Neville Strickland / Lou Carruthers / Mayor Red Thomas / Sam Baines; Kiara Lee Jennifer Parker, Ensemble; Joshua Blackswan Abbott / Luther Brooks IV Reginald (Starlighter #1), Ensemble; Tade Biesinger Ensemble; Ina Black Ensemble; Luther Brooks IV / Lucas Hallauer Ensemble; Alyssa Carol Babs, Ensemble; Jenny Dalrymple Clocktower Woman, Ensemble; Laura Sky Herman Linda McFly, Stella Baines, Ensemble; Dan Horn Ensemble, Swing; Will Jewett 3D, Ensemble; Dwayne P. Mitchell Starlighter #2, Fight Captain, Asst. Dance Captain, Swing; Zoe Brooke Reed Betty, Ensemble; Fisher Lane Stewart / Ross Thompson Dave McFly / Slick; Emily Applebaum Swing; Brittany Bohn Swing, Dance Captain; Lucas Hallauer Swing; Ross Thompson Swing.

Music Department (Ł indicates local): Nick Finlow Music Supervision, Vocal and Additional Arrangements; Ethan Popp Orchestrations; Bryan Crook Orchestrations; David Chase Dance Arrangements; Matt Doebler Music Director, Keys 1; Ted Arthur Assoc. Music Supervisor; Kristy Norter Music Coordinator; Emily Orr Assoc. Music Director / Keys 2; Jaren Angud Drums; William Leary Reed 1; Sean Franz [Ł] Reed 2 (Flute / Clarinet / Tenor Sax / Bari Sax); Aaron Smith [Ł] Trumpet/Flugelhorn; Nick Daley [Ł]Tenor / Bass Trombone;  Brian LaFontaine [Ł] Guitar (Electric / Acoustic Steel String); Dan Lutz [Ł] Bass (Acoustic / 5-String Electric); Eric Heinly [Ł] Orchestra Contractor.

Creatives and Production: Tim Hatley Scenic and Costume Design; Tim Lutkin Lighting Design; Hugh Vanstone Lighting Design; Finn Ross Video Design; Gareth Owen Sound Design; Chris Fisher Illusions; Tara Rubin Casting; Maurice Chan Fight Director; Campbell Young Associates Wig, Hair, and Makeup Design; Taylor Haven Holt Assoc Director; Beth Crandall Assoc Choreographer; Aurora Productions Production Management; Eric Sprosty Production Stage Manager; Caitlin Kellermeyer Stage Manager; Malashia Carter Asst. Stage Manager; Domingo Mancuello Asst Stage Manager; Jack Stephens Company Manager; Bespoke Theatricals General Manager.

Favorite Minor Credit; Gabriel Reis Hoverboard Coach.

♦ ♦ ♦

Administrivia: I am not a professional critic. I’m a cybersecurity professional, a roadgeek who does a highway site and a podcast about California Highways, and someone who loves live performance. I buy all my own tickets, unless explicitly noted otherwise. I do these writeups to share my thoughts on shows with my friends and the community. I encourage you to go to your local theatres and support them (ideally, by purchasing full price tickets, if you can afford to do so). We currently subscribe or have memberships at: Center Theatre Group/Ahmanson Theatre; Broadway in Hollywood/Pantages Theatre; Pasadena Playhouse; and 5-Star Theatricals. We’re looking for the right intimate theatre to subscribe at — it hasn’t been the same since Rep East died (it’s now The Main, and although it does a lot of theatre, it doesn’t have seasons or a resident company), and post-COVID, most 99-seaters aren’t back to doing seasons (or seasons we like). I used to do more detailed writeups; here’s my current approach.

Upcoming ♦ Theatre / ♣ Music / ◊ Other Live Performance – Next 90ish Days (⊕ indicates ticketing is pending). We’re a bit light on theatre while my wife is recuperating from her knee replacement.

• November: La Cage Aux Folles at Pasadena Playhouse; possibly Santa Claus Conquers the Martians ⊕ at Maverick Theatre
• December: ♦ Wicked at Broadway in Hollywood/Pantages; ♦ Once Upon a Mattress at CTG/Ahmanson;
• January: ♦ Anything Goes (Concert) at Pasadena Playhouse (Pasadena Civic);

This entry was originally posted on Observations Along the Road as Time Games | "Back to the Future: The Musical" @ BIH/Pantages by cahwyguy. Although you can comment on DW, please make comments on original post at the Wordpress blog using the link to the left. You can sign in with your LJ, DW, FB, or a myriad of other accounts. Note: Subsequent changes made to the post on the blog are not propagated by the SNAP Crossposter; please visit the original post to see the latest version. P.S.: If you see share buttons above, note that they do not work outside of the Wordpress blog.