Back to the Future Musical Review

 

Sunday 27th March. 3pm GMT. A monumental day in Musical Theatre History

As a Christmas present, had the pleasure of seeing the new Back to the Future musical at the Adelphi Theatre on London's Strand. 

BTTF is one of my favourite films of all time, a screenplay that is perfection and features two great performances in Michael J. Fox and Christopher Lloyd whose friendship is tested by 30 years, and yet the story of Marty McFly travelling back in time in a DeLorean to 1955 to encounter his parents before they meet and putting in peril the space-time continuum is the basis for a new musical built around the inspirational score by Alan Silvestri with new original songs and lyrics by original screenwriter Bob Gale and Glen Ballard.

The show is a jumping gigawatt of energy and enthusiasm, from the outset there have been adjustments to bring the show up to the 21st century with the removal of Libyan terrorists completely and satirical asides about the future, 'No hunger, no war, no disease'.

The songs at the start of the show do not carry muster personally speaking, and it is only the injection of Doc Brown (portrayed here by Mark Oxtoby, understudy to Roger Bart) that the show and songs raise their game as the friendship between Marty and Doc takes centre stage, this is a friendship that has to stand the test of time with Marty knowing what may happen.

The show is further helped by the portrayal of George McFly by Hugh Coles (Olivier nominated and favourite perhaps) who takes the socially awkward and guffawing of Crispin Glover's screen performance and amps it up but maintaining a genuine sincerity to the role, his arc culminating in the punch to Biff which rightly gets a round of applause by the audience.

                                 

The second act begins with a storming '21st Century' number for Doc Brown that helps crank up the pace of show that does not ease up, leading to George's punch of Biff, and Marty's playing of guitar with 'Johnny B. Goode' and 'The Power of Love'

Further, the technical wizardry on offer at the show is outstanding, the use of the stage incorporating the DeLorean as an actual prop and device that can move thanks to back projection and lighting heralds a new dawn of theatre going with an immersive, special effects driven show. A car has flown on stage before with Chitty Chitty Bang Bang but this is added effect and it pays off.

By the film's conclusion, with Silvestri's marvellous horn driven score sounding out this viewer (and his wife) had a happy tear rolling down his cheek. It was like I was watching the film again for the first time, the thrill of the car reaching for 88mph.

This show is suitable for fans old and new of the film, and for new theatre goers also this is a great gateway to the magic of musical theatre, great sense of enthusiasm and enjoyment by all, with people singing along to Huey Lewis' mega-hit. This is something for all ages.

Back to the Future is at the Adelphi Theatre, London where tickets are available.

Monday, Wednesday, Thursday, Friday, Saturday 7.30pm. 

Wednesday/Saturday 2.30pm Matinee. Sunday 3pm Matinee

It has been nominated for 7 Olivier Awards which will be awarded in April; including Best New Musical, Best Lead Actor in a Musical (Olly Dobson) and Supporting Actor in a Musical (Hugh Coles - one to watch).

Why Rent is still on the money

Going to the theatre is a great experience, going to see something for the first time is a better one. To celebrate the 20th anniversary of its original Broadway production, Rent is doing a limited run at the St. James' Theatre.

Rent is the Pulitzer Prize winning musical by Jonathan Larson, who sadly passed away mere days before the first show in Broadway. Yet his legacy and drive for success has always been apparent in the collaborative unity of the show; a group of rag tag individuals from differing social, cultural and racial backgrounds come together to make life long friendships.

Set upon the text of Puccini's La Boheme, the musical is the calling card of young Americans fighting off the disillusionment and alienating effect of living in America (at the end of the Millennium).

For that reason, Rent still remains a significant and unique piece of theatre that is both timeless and prescient. Watching the piece now in an age when America has elected a celebrity as their President still there is this divide between the expected normality of sexual relations, heightened tensions between communities of differing races. However, there is still the music of the soul and heart of performance.

Rent unabashedly gives high praise to the creative souls who endeavour to make good work in whichever chosen media as a means of expression (Mark) or protest (Maureen).

This production is directed by Bruce Guthrie was one of immense talent and conviction; the performers sang with such ferocity and fierce pride in their work that the emotion was washing over the audience in abundance.  The spirit of collaboration was there when the small cast came to sing 'Seasons of Love' at the start of Act II, when the big verses where sung by the periphery/background actors giving them a platform to raise the roof and showing they are a match for the principles.

Standout performances come from Layton Williams as Angel, full of physical dexterity and electrical vocal range and Ryan O'Gorman as Tom Collins, using his velvety rich baritone to engender real feeling into his solo songs 'Santa Fe' and 'I'll Cover You'; and it is fitting that Williams and O'Gorman have a great chemistry in their ensuing loving relationship on stage.

The musical Rent is on at the St. James' Theatre until 28th January. I suggest you go and treat yourself to see a brilliant production of a timeless piece of musical theatre that will stand the test of time; one that like the greatest of musicals (Oklahoma, West Side Story) that continues to resonate due to its universal themes of love, friendship and community.  These themes still ring true to us all.

525,600 minutes. How do you measure a year? How about love?

Memphis Preview

     

With the first preview shows beginning last night, the countdown is on before the curtain rises on MEMPHIS debuting at the Shaftesbury Theatre on Thursday 23rd October.

Inspired by true events from the underground dance clubs of 1950s Memphis, Tennessee, MEMPHIS follows the fame and forbidden love of a radio DJ who wants to change the world and a club singer who is ready for her big break.

The West End production is a transfer of the hit Broadway musical of the same name, with a Grammy award winning score by original Bon Jovi member David Bryan and book by Joe DiPietro. Starring multi-award winning recording artist Beverly Knight (in her second West End role after The Bodyguard) as lounge singer Felicia Farrell and Killian Donnelly as DJ Huey Calhoun.

Here is a link to a video preview on YouTube:                         

And here are some images from the gruelling rehearsal schedule for the energetic cast. As the video and these images can attest to, there is a joyfulness and zest to the performers that will have people dancing in the aisles of London.

Opening night is on Thursday 23rd October

Performances          

Monday to Saturday at 7.30pm

Wednesday & Saturday at 2.30pm

Ticket Prices £20 to £67.50            

Box Office 0207 379 5399                       

 

Website: memphisthemusical.com

Twitter: twitter.com/memphismusical

Facebook: facebook.com/memphisthemusical