I can remember the first time I heard those ticking clocks.
It was a friend’s birthday party at her house and we all sat round as the video was put on.
The excitement was real as those clocks ticked and the camera panned across the Doc’s home and workshop in a garage in the fictional Hill Valley.
Some 30 odd years later and those tick-tocks were back as we took our seats in the circle of the Opera House, Manchester, a countdown taking place on stage, the atmosphere feeling as electric as the currents that crackled above our heads.
And so for years and years my brother and I have been quoting lines from the Back to the Future (BTTF) trilogy (mostly the first two actually – Soz cowboy BTTF.
Run for it Marty!
Good night Future boy!
Well you’re right, Biff, you’re right!
Not too early, I sleep in Sundays
Joey just looooves being in his playpen
You’re my m…you’re my m….
Ha a a a a a a a a a a a a he always says that…
And so it was with intrigue, fear and nerves that I approached the concept that is BTTF the musical.
Full disclosure – I’ve never been the biggest fan of musicals. I can cast an objective eye towards them and recognise talent and what is good about them (I hope), but as a genre of entertainment they’re not necessarily my favourite.
Would it be all…(a 5,6,7,8)
🎶 Gigawatts! 1.21 Gigawatts! They are Gigawatts! And there are 1.21 of them, that’s 1.21 of them…
No matter. If BTTF is involved and importantly the original creatives, co-creators and producers Bobs Gale and Zemekis are on board, you go, go, go.
And blimey – I am so glad I did (we did need roads).
Starring Olly Dobson as Marty McFly and Roger Bart as The Doc, the show takes us through the first film and story in a way that is fully faithful, and abridged where necessary.
The dialogue is there as the actors riff on the old favourites, with lines delivered to cheers, laughter and the pure joy of recognition.
This was never more the case than when loveable old George McFly (Hugh Coles) was on stage. The show didn’t necessarily demand carbon copy imitations of the characters, but boy did we all marvel with open-mouthed glee (picture what that looked like) as the loveable old and original ‘slacker’ manifested before our very eyes.
And it was a very similar story with Rosanna Hyland as Lorraine, from the moment she poured out that vodka, through to pointing out her hope chest, to parking with a boy.
Olly Dobson took on the incredibly difficult task of asking us to imagine a Marty McFly who isn’t Michael J Fox (yes, I know, Eric Stolz for about 5 mins, fellow hardcore BTTF tribe members), and he smashed it.
Darting, skateboarding, jamming his way round the stage in his life preserver, Dobson was a joy to watch down to the smallest of inflections – don’t get me wrong though, he made future boy his own.
We need to talk about the Doc, played by Roger Bart. I was never about to make like a tree and get outta there but for the opening strains of a song and dance routine as he shimmied round the DeLorean with his back up dancers, I was in a small state of shock.
But then, Great Scott, I got it. And it was everything.
Christopher Lloyd is the Doc, we all know this. But Roger Bart is musical Doc. A Doc that delivers the 1.21 gigawattsness with the same breathy, incredulity, but with a hammy quality and campness that is simply perfect.
If you’re gonna be musical Doc, go big, go extra, or go home (with the aid of a bolt of lightening, perhaps).
And so to our dear time machine, the DeLorean. There it was in all its glory. Forget Chitty Chitty Bang Bang, this car is its own star which brings me to the special effects which were out of this world.
How do you demonstrate time travel on a lovely old theatre in the middle of Manchester? I don’t know but thanks to the genius of the special effects, they did, and then some in a way that got the heart rate racing upto 88mph.
With a musical score that was the perfect balance of the original and the new (with a healthy dose of Huey and his veritable News thrown in (nice nod, naming a new character after his Lewisness), it even got Miss ‘musicals aren’t necessarily my thing’ on her feet.
If you put your mind to it, you can indeed achieve anything. And blimey o’reilly, has the world premier outing of this show achieved everything.
Go, introduce your kids and bask in the brilliance of this new show. Buttheads.
Showing at the Opera House, Manchester, until 17 May 2020.
For further details and tickets, head to https://www.atgtickets.com/shows/back-to-the-future-the-musical/opera-house-manchester/