BACK TO THE FUTURE
ACTING = one or more performers
Back To The Future The Musical is a sci-fi, comedy, partially jukebox, musical that I watched
in February 2022 at the Adelphi Theatre. It was written by Robert Zemeckis and Bob Gale in
2012, and directed by John Rando - inspired by the famous 1985 film. The musical starts in
1985, Hill Valley, California (hence, the actors use a Northern Californian accent - speaking
slower with a vocal fry, more open mouth, raising their voices at the end of sentence,
broader 'a' vowel sounds). It follows the cool 17 year old Marty McFly (Olivier nominated Olly
Dobson) as he travels back in time to 1955 by the eccentric scientist Doctor Brown's
DeLorean time machine. Here, he meets his parents when they were young - the awkward
George McFly (Olivier nominated Hugh Coles) and the popular Lorraine Bates (Rosanna
Hylande), who falls in love with Marty instead. Thus, Marty has to figure out a way to get his
parents to fall in love, to ensure that he and his siblings come to existence, as well as his
own relationship with Jennifer (Courtney-May Briggs). I believe through contrasting
characters and comedic, stereotypical, and even somewhat melodramatic acting, the
performers were successful in their intent to convey their characters in a way that would be
easily recognisable to the audience.
In Act 1 Scene 4 in the 80s, we are introduced to Marty and Jennifer as a couple for the first
time. Here, Jennifer is consoling Marty as their high school headmaster Strickland rejected
his band 'The Pinheads' audition to perform at their 'Enchantment Under the Sea' school
ball, and they sing "Wherever We're Going" together. The scene starts with a bench
downstage centre. The use of the set supporting the acting adds to the mise en scene and
total dramatic effectiveness as it is used physically - such as sitting on it sadly, rebelliously
standing, or jumping off it joyfully - which helps reflect the characters' moods and
personalities. While Dobson is sat on the right side of the bench hunched over with a
downcasted look, Briggs runs rapidly towards the bench from upstage. With a furrowed brow
she loudly states "I am so sorry. Strickland is such a jerk!", emphasising "jerk" by intonating
upwards. This reflects how annoyed Jennifer is at the headmaster for upsetting her boyfriend
- presenting her character as protective and assertive (which is ironic as women in 80s
patriarchal society were still seen as inferior to men). Yet, Dobson doesn't react and
maintains his position as with a low volume and slightly shaking his head he replies "What if I
really aren't cut out for music". This illustrates how Marty is embarrassed and feels dejected
as he feels he has failed at his dream. However, it is clear that the emotionally sensitive
Jennifer picks up on this, so tries to lighten the mood. Briggs sits next to Dobson and puts
her right hand on his shoulder, making direct eye contact, and says with a small smile and
soft tone: "one rejection isn't the end of the world". While this reflects that she is caring, it
also again reinforces that she is practical as she doesn't allow him to stay depressed. This
prompts Dobson to look up at Briggs with wide eyes as she puts her left hand on her heart -
to communicate her sincerity - and goes on to say "and you're good Marty, you're really,
really good", nodding her head on each elongated "really" to emphasise this further. As they
go on to sing their song, it is clear that both the characters are in love with each other and
affectionate as seen by their maintained eye and physical contact. For example, they hold
hands, lean on each other, Briggs pulls Dobson in closer by his lapels, and he taps his index
finger lovingly on her nose. This escalates to their kiss. With his right hand Dobson holds a
polaroid camera - reflecting how he is quite technologically savvy - and with his left he has
his arm round Briggs, before slowly using his free left hand to turn her face to his and kiss
her as the sound effect of the polaroid clicks and the lights flash. His confident, relaxed and
cool stance here reflects how he is charismatic and a 'ladies man' - creating irony as this
especially contrasts his awkward father George. Additionally, it was effective of Rando to
introduce the polaroid camera here as it is important in their relationship, as later on when
Marty starts to disappear from the polaroid picture of him and his friends and family, it
prompts him to try harder to get home to Jennifer. Overall, this scene adds to the total
,dramatic effectiveness as it introduces us positively to the protagonists of Jennifer and Marty.
Likewise, it reflects how although Jennifer's personality is caring and Marty's is cool on the
surface, it allows the audience a deeper understanding as we see them vulnerable and
upset at the start of the scene. This is especially effective with Marty who tries harder to
present himself as cool (as inspired by Michael J Fox's interpretation in the film), like in the
first scene where he skates through the cast, as men in the 80s were not meant to be as
emotionally vulnerable publically.
The next scene is set in the McFly household's kitchen, where the audience is introduced to
George McFly and his childhood bully, and now boss, Biff (Aidan Cutler) - who also liked
George's wife Lorraine. Hyland (who plays Lorraine) stated in an interview that this scene is
both "comedic and tragic". Arguably, George and Biff are the two most melodramatic
characters due to their highly stereotypical portrayals of a bully and victim - making it easier
for the audience to understand their personalities. This is clear from the outset due to
Rando's casting and how it informs the actors acting. Cutler is extremely tall and muscular,
causing him to look down on Coles and stride towards him with a menacing smile -
symbolising his power and how he is almost the predator and George the prey. In an
interview, Cutler claimed he was influenced by Thomas Wilson's original portrayal of Biff in
the 1985 movie, such as his movement where he shook his head, which he said was almost
"pantomime-esque". Contrastingly, Coles is very skinny. He emphasises this through
over-exaggerating his movements, such as wobbling his knees or splaying his palms in front
of him in an unsuccessful attempt at protecting himself from Biff's physical intimidation due to
his aggressive and violent personality. For instance, as Biff enters the McFly's kitchen, he
shoves a chair over and knocks their breakfast cereal boxes down with a smile and chuckle -
reflecting how remorseless he is. Likewise, Biff likes to 'knucklehead' George, which includes
Cutler forcefully grabbing the back of Coles' head with his right hand, as he flails about, and
pushing him into a hunched position with his left hand. Cutler being at a higher level to
Coles' here reinforces his power. Here, Coles lets out a weird high pitched laugh with an
awkwards smile to diffuse the dramatic tension. Although this is comical to the audience, it
also creates sympathy as George is presented as so weak and passive. Biff's domination is
continued vocally as well. He has a loud booming voice, such as when pointing at George he
loudly and mockingly says: "He would come third in a two manned race!", slapping his hands
down on the kitchen table, leaning backwards, and laughing. Again, in juxtaposition Coles as
George speaks quietly with lots of stutters - reinforcing his nervous character. This is a
source of embarrassment to the family who hang their heads down in shame as Biff enters,
as George as an adult and their father should fulfil his masculine gender role of being able to
stand up for himself and protect them all. The scene adds to the total dramatic effectiveness
as it illustrates the contrasting characters of the bully Biff and his victim George - yet also
contrasts the end of the musical when George has learnt to stand up for himself and is now
a meeker Biff's authoritative boss - establishing more meaning and impact in the play's
denouement and resolution.
- >>> In a 1950s American diner, Marty observes from upstage and reflects the
audience's horror by displaying wide eyed astonishment as a young Biff enters,
asking why George hasn’t completed his homework for him yet - and ends up tipping
cereal onto George’s head. We witness the same Knucklehead bullying gesture that
we saw in 1985, as Cutler repeats the word “Hello?! Hello?” whilst knocking firmly on
Cole's scalp. Coles responds to this in a highly physical way by scrunching up his
face in pain, clawing at the hand Biff is using with flailing arms and lowering himself
to a kneeling position through gangly collapsing legs. Cutler performs his bullying
rituals at DSC, circling George and bellowing his insults into his ear, always towering
above and pushing George towards the floor. Whereas, we are delighted with our
protagonist Marty when he steps in to assist his father and extends the hand of
friendship, using a soft reassuring vocal tone. This contrasts how he acts in the 80s
scene.
, Then, the penultimate scene of Act 1, after Marty has travelled to the 50s, is the comedic
climax of the first act. It is set in his mother (as a teenager) Lorraine's bedroom, as Marty has
just fallen out of the tree outside her house so has been taken in by her parents to recover.
The stage revolves to reveal a bed centre stage and a window with pink frilly curtains above
it. These electronically open to reveal three singers, whose melodramatic ad-libbing and
singing portrays them like popular girl groups of the late 50s (e.g. The Ronettes or The
Supremes), yet also adds to the total dramatic effectiveness as they mirror the audience's
reactions - such as widening their eyes when they see Lorraine's seduction of Marty. Marty
wakes up to find himself in Lorraine's bed. He rapidly jumps out of the bed onto centre stage
right - only in his Calvin Klein underwear - and sharply looks down at his pants, up to the
audience with wide eyes and then to the right at Lorraine, before grabbing a fluffy pillow to
cover up his crotch, attempting to preserve his dignity. This creates comedy and again
presents him as embarrassed as he is vulnerable, though instead this time physically.
Hyland as Lorraine in turn ironically mistakes his name as being "Calvin Klein" which she
says in a sultry tone and low voice, with narrow eyes, as she licks her lips and crawls on the
bed towards him - presenting her as sexually desiring Marty, contrasting how girls in the 50s
were meant to be innocent rather than promiscuous. Her pursuit of Marty is continued when
Hyland tells him with a soft tone to communicate she cares: "That's a mighty bruise you've
got there" and touches his forehead softly with her right hand. Yet, this escalated to her
stroking his hair and making direct eye contact, which Marty struggles with, reflecting how
she has an ulterior motive - perhaps as Lorraine is presented as popular so is charming and
often gets her own way. Consequently, Marty moves himself to the very edge of the bed after
every advancement, causing him to comically fall on the floor on the last beat of the music.
Here he quickly gathers his clothes and facing Lorraine loudly says "See you later" with a
concerned furrowed brow, then faces the audience and says "much later" with a lower
volume, before running off stage right without looking back at Lorraine who is still smiling
and looking lovingly at him. This employs the Stanislavskian convention of breaking the
fourth wall and creates comedy as Marty shares a joke with the audience as he implies he
will see Lorraine again, instead as his mother, back in the 80s. Overall, this scene adds to
the total dramatic effectiveness as it gives the audience an insight into Lorraine's character
when young, fun, seductive and popular. Hyland creates a clear contrast from 17 year old
Lorraine where she aimed to use a lighter, more excited, breathy vocal tone while being very
fixated on Marty. Whereas, adult Lorraine - as seen in the scenes in the 1985 kitchen - is
more strict, tired and nostalgic after having her own teenage children, seen through her
lower centre of gravity, slightly slumped posture, and wearied facial expression.
NEW = In the final scene of Act 1, Hill Valley High School's location is clearly depicted
through a flown in sign (‘Hill Valley High School’) and trucked in lockers and cafeteria tables.
As if to reinforce George’s weakness, once he makes it to his feet after Biff has pushed him
over, the headmaster Strickland knocks him over once more. He appeals to our sympathy as
he holds his knees close to his body and rocks himself, exhales in short sharp breaths as if
recovering from an asthma attack, and looks downwards into his lap. Marty stands above
and George appears to be the child. Humour is created as Lorraine enters and loudly
proclaims the word ‘Calvin?', as Marty pulls a confused face towards the audience as she
has mistaken Marty’s ‘Calvin Klein’ underpants for his name. In an atypically brave moment
from George, he attempts to invite Lorraine to the Enchantment Under the Sea Dance. He
advances in long strides with a fixed jaw and determined stare. George fails to deliver his
rehearsed line: “I am your destiny”. He thrusts out his hand and declares, “I am your
density!” leaving Lorraine and her friends to look sideways at each other with puzzled faces.
George momentarily drops his head into his hands and glances back, opened palmed,
appealing to Marty who gestures for him to go back and try again. On the second attempt,
George declares, “I am your dentist!” and again physically shrivels under the strain of his
own incompetence, eyes lifted to the heavens as if pleading for assistance. Later in the
scene, it has been staged that George will rescue Lorraine and prove his masculinity by
fighting a suitably weak opponent. In a comedy of errors, this turns out to be Biff. Cole, as
