Your New Favorite Time Capsule - Back to the Future: The Musical by Peyton Webb

Wanna go for a sweet ride into the past? All you have to do is head to the Orpheum Theater! Sadly, the entire audience can’t squeeze into Doc’s DeLorean, but don’t panic–the stage will stand in as your time machine. Back to the Future: The Musical, produced by Colin Ingram, is a blast from the past twice over. Yes, it takes us to 1955 after Marty McFly accidentally hits 88 mph, but we also go back to the ‘80s, when the original film was released. Each scene makes the 21st century feel more and more distant. You’ll see everything from a beyond adorable ‘50s diner to a couple of 1985 lovebirds taking a Polaroid selfie. Come on, what’s more retro than a Polaroid selfie? With goofy characters, dumb laughs, and a generous amount of cheese, Back to the Future is the perfect light-hearted distraction from the impending autumn gloom.

If you’re looking for something profound and serious, this likely isn’t the production for you. Between the cartoonish set design (Frank McCullough), the playfully exaggerated acting that reminded me of Disney Channel, and the bedazzled backup dancers who kept magically appearing, it’s clear Back to the Future is anything but serious. While that preposterousness may not be everyone’s cup of tea, it was exactly what the show called for. Nearly everything is more caricature than portrayal, yet it creates a unique and captivating charm that perfectly suits the cherished story. 

The music (Alan Silvestri and Glen Ballard) embraced each decade’s style and built the ambiance well. However, it seldom moved the plot forward, and none of the songs were particularly memorable or catchy. At the very least, it set the mood so the cast could shine.

Based on the abundance of applause, Cartreze Tucker was a clear crowd favorite as Goldie Wilson. The aptly-named character has big dreams, a glass-half-full outlook, and a healthy dose of queer coding. Tucker’s zealous performance gave us that and more. It was hard not to cheer when his jazzy tenor belted out the sky-high notes of “Gotta Start Somewhere.” 

Meanwhile, Caden Brauch seemed to struggle as the protagonist, Marty McFly. At times, Brauch’s acting was too adult for a supposed seventeen-year-old, and at others too childish. To put it bluntly, he’s just not cool enough to be Marty. Luckily, our other lead fared better. Don Stephenson masterfully blended eccentric inventor with grandfather figure to create an utterly lovable Doc Brown. Particularly in “21st Century” and “For the Dreamers Reprise,” both his absurdity and his endearing warmth shone through.

Back to the Future probably won’t be the next Les Mis or Rent. Actually, I can guarantee you it won’t. But that’s okay, it isn’t trying to be. It’s simply here to give the audience a taste of nostalgia, some ridiculous jokes, and characters you’ll grow to adore. Back to the Future: The Musical is in Minneapolis through September 22. And if you ask me, you’ve got to make the trip downtown. It’s your density!