Tag Archives: Tim Hatley

Back to the Future

Back to the Future

★★★★

Adelphi Theatre

Reviews, , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , ,

Back to the Future

Back to the Future

Adelphi Theatre

Reviewed – 6th October 2021

★★★★

 

“It is sleek, well-oiled and will surely be burning bright for quite some time”

 

Even with the help of a 1.21 gigawatts flux capacitor and an unhealthy dose of radioactive plutonium, 88 mph seems a pretty modest speed required to propel a rear-engine ‘DeLorean’ through time. But this piece of eighties iconography has no trouble landing on the stage of the Adelphi Theatre in the twenty-first century, swept along by the sheer force of a gravity-defying publicity machine and the collective, kick-starting power of a couple of thousand fans a night, adding to the lightning bolts of energy that burst throughout the auditorium. To say “Back to the Future: The Musical” is spectacular is an understatement. It showers us with special effects, jaw-dropping sets and transitions, blurs of neon, CGI magic and a hi-wattage, fifties/eighties mash up of a soundtrack. It is sleek, well-oiled and will surely be burning bright for quite some time.

But listen closely and you hear some troublesome knocking in the engine. Not enough to stall it and too quiet to worry the crowd, the flaws are invariably swamped by the energy of the performances. It’s a bizarre adaptation of the film; simultaneously faithful to the original but adding quirks and eccentricities that don’t always sit comfortably with the source material. Doc Brown attracts an ensemble of backing singers and dancers like flies. It’s a lot of fun, is wonderfully appealing to the ears and eyes and it breaks the fourth wall. But you wonder why. The music and lyrics of Alan Silvestri and Glan Ballard are crowd pleasing pastiches, with words and rhymes full of witty observation and humour; but sometimes side-stepping into banality. The almost relentless breaking into song takes away from the narrative and the characterisation; we barely have time to take a breath (so how do the cast cope?) and we miss those moments when we can absorb the concepts of space, time and history that the film allowed us to contemplate.

Yet despite being stripped of at least one dimension of their characters, the cast give impeccable performances. Olly Dobson, as Marty McFly, is a dead ringer for Michael J. Fox and is a fireball of energy. When he arrives back in 1955, the moments when his teenage mother (Rosanna Hyland) has ‘the hots’ for him are played for real laughs. (It is bizarre to note that when the film was originally pitched to Disney, the appalled executives rejected it outright, declaring it to be a movie about incest). More emphasis is placed on Marty’s relationship with his dad, George. Hugh Coles gives one of the stand-out performances; lanky and geeky with angular awkwardness, and often hilarious in the way only a highly skilled mover can re-enact ‘bad dancing’. Roger Bart’s Doc Brown is a contagious concoction of quirks, marred only by his over playing to the audience at times.

The special effects, sets and lighting are as much a lead role as the protagonists. Tim Lutkin’s lighting, Finn Ross’ video design, coupled with Chris Fisher’s illusion design, Gareth Owen’s sound and The Twins FX animatronics cannot fail to produce a breath-taking show. Add on the extra layers of Chris Bailey’s sleek, though sometimes excessive, choreography; and musical director Jim Henson’s thirteen-piece band and you have a display that defies the laws of physics. Like the well-worn bumblebee flight myth (it is a scientific and aerodynamic impossibility that bumblebees can fly – yet fly they do) the unconventional components that make up this vehicle should leave it grounded. It shouldn’t do – but it flies. It soars even. Although not timeless, it will stand the test of time and we’ll still be seeing this show in the West End way back to the future.

 

Reviewed by Jonathan Evans

Photography by Sean Ebsworth Barnes

 


Back to the Future

Adelphi Theatre until July 2022

 

Shows we reviewed in September 2021:
Fever Pitch | ★★★★ | Hope Theatre | September 2021
Myra Dubois: Dead Funny | ★★★★ | Garrick Theatre | September 2021
Absurd Person Singular | ★★★ | Cambridge Arts Theatre | September 2021
White Witch | ★★ | Bloomsbury Theatre | September 2021
Aaron And Julia | ★★½ | The Space | September 2021
Catching Comets | ★★★★★ | Pleasance Theatre | September 2021
Ida Rubinstein: The Final Act | ★★ | Playground Theatre | September 2021
Witness For The Prosecution | ★★★★★ | London County Hall | September 2021
Tell me on a Sunday | ★★★ | Cambridge Arts Theatre | September 2021

 

Click here to see our most recent reviews

 

The Grönholm Method – 4 Stars

Reviews, , , , , , , , , , , ,

Grönholm

The Grönholm Method

Menier Chocolate Factory

Reviewed – 23rd May 2018

★★★★

“The piece twists and turns in a wonderfully layered structure of discovery”

 

Four people are waiting. These four people are interviewees. They have been told to expect a group interview but the ensuing ninety minutes is far more surprising and gruelling than any might’ve expected. Envelopes appear periodically in a drawer delivering them tasks to complete: they must decide which of them is not a real candidate but a member of HR, whether the company ought to hire someone undergoing gender reassignment, whether unstable mental health and extra marital affairs affect a person’s working ability, and so on. Inspired by actual procedures in HR departments, Jordi Galceran’s play, which premiered in Barcelona in 2003, is reset in a New York office by director BT McNicholl.

As the characters desperately try to puzzle their way through task after task, the audience are equally drawn in, as in the dark as the candidates themselves. The piece twists and turns in a wonderfully layered structure of discovery. It is impossible not to be drawn in, but the draw is surface level. This is not a nice world, and the people in it reflect that. Even at their most sympathetic it is hard to truly feel any empathy for them, and every breakdown is suspect in a play that refuses to stop surprising us. The piece is more thriller than drama, and there is little in which to emotionally invest or engage.

The cast of four is consistently strong. Jonathan Cake’s brutal Frank Porter is harsh, calculating and desperate, abhorrent at points, oddly likeable at others, albeit purely for his tenacity. Greg McHugh is softer but just as committed, the Harvard graduate who is revealed to be a trans woman, though the other characters’ universally transphobic responses perhaps show the play’s age for the first time. Laura Pitt-Pulford is Melanie Douglas – “Three men and a woman, as always,” she comments on arrival – determined to the point of ruthlessness, juggling the demands of work and life with a pragmatic coldness. John Gordon Sinclair’s Rick is a much needed contrast to his counterparts, bright and funny, always on hand with traffic-based small talk and tic tacs.

Tim Hatley’s design is beautifully detailed and fantastically well executed. A plush corporate conference room with white leather chairs, wooden panelling across the walls and an excessive amount of glass. The floor to ceiling windows at the back of the stage reveal the New York skyline, gradually darkening as the play goes on (lighting design by Howard Harrison).

BT McNicholl’s production is slick and well executed, an insight into an ugly world where brutality is rewarded and humanity stamped out, supported by four consistently strong performances.

 

Reviewed by Amelia Brown

Photography by Manuel Harlan

 


The Grönholm Method

Menier Chocolate Factory until 7th July

 

 

Click here to see more of our latest reviews on thespyinthestalls.com