“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.
Final casting is today announced for the world première of a major new musical, “The Braille Legacy”, the thrilling, true, inspirational and epic story of Louis Braille, a young blind boy who wanted the same chance in life as those who see and ended up improving the lives of millions of blind people around the world.
It is being directed by acclaimed director Thom Southerland (”Ragtime”, “Titanic”, “Grey Gardens”, “Death Takes A Holiday”) and will première at Charing Cross Theatre (Artistic Director Thom Southerland, Managing Director Steven M. Levy) from Monday 10 April to Saturday 24 June.
Joining previously announced Olivier Award nominated Jérôme Pradon (West End credits include the UK premiere of the musical “Women On The Verge of a Nervous Breakdown”, Guillaume in “Martin Guerre”, Chris in “Miss Saigon”, Javert in “Les Miserables”, and Judas in the Emmy-winning video of “Jesus Christ Superstar”) are:
Jason Broderick (“Godspell” UK tour, “Anna Nicole – The Opera” Royal Opera House); Tate-Eliot Drew (“My Lands Shore” Ye Olde Rose N Crown Theatre); Will Haswell (“Jersey Boys” West End, Pinocchio in ‘Shrek the Musical” UK tour); Lottie Henshall (“Doctors” BBC1); Sarah-Marie Maxwell (“She Loves Me” Menier Chocolate Factory, “Top Hat” UK tour); Matthew McDonald (“Death Takes a Holiday” Charing Cross Theatre, “Allegro” Southwark Playhouse); Kate Milner-Evans (“Showboat” West End, Carlotta in “The Phantom of the Opera”); Janet Mooney (West End includes “Les Miserables” and “Love Never Dies”); Ceili O’Connor (“Grand Hotel” Southwark Playhouse, “Evita” UK tour); Michael Remick (West End includes “Dirty Dancing” and “The Sound of Music”); Ashley Stillburn (Corrado in “Death Takes A Holiday” Charing Cross Theatre, “The Phantom of the Opera” and “Les Miserables” West End); Jack Wolfe (is making his professional stage debut as Louis Braille); and a child cast featuring Guillermo Bedward, Thomas Brown, Tallulah Byrne, Beau Cripps, Ilan Galkoff, Honey Harrison-Maw, Eliz Hassan, Megan Haynes, Zachary Loonie, Mimi Slinger, Ophir Fifi Tal, William Thompson.
“The Braille Legacy” is the story of a revolution and an heroic fight for independence, with the themes of difference, freedom, hope and love and the triumph of human values over adversity.
In Paris in the 19th century, blind people were victims of profound discrimination. Louis Braille, a bright young mind with a mad dream, arrives at the Royal Institute of Blind Youth, searching for the same chance as everyone else: to be free and independent. But he soon discovers that people and things aren’t always what they first seem. By sheer determination and courage he stumbles upon something revolutionary: a simple idea, a genius invention, a legacy. Two hundred years ago, Louis Braille changed the world by inventing the tactile system of communication, the Braille alphabet, liberating the “People of the Night” and introducing literacy, knowledge and culture to a people who were otherwise trapped. It was their journey into the light.
“The Braille Legacy” has an original French Book and Lyrics by Sébastien Lancrenon, Music by Jean-Baptiste Saudray, with an English translation by Ranjit Bolt. Music Supervision and Orchestrations are by Simon Lee.
The full creative team is: Director: Thom Southerland, Music Supervision and Orchestrations: Simon Lee, Musical Director Toby Higgins, Choreographer Lee Proud, Set Designer: Tim Shortall, Lighting Designer Tim Lutkin, Costume Designer: Jonathan Lipman, Sound Designer: Andrew Johnson, Casting: Stephen Crockett at Grindrod Casting, Children’s Casting: Jo Hawes, Music Preparation: Simone Manfredini, Associate Director Rupert Hands.
The Braille Legacy Ltd by arrangement with
Colbert Entertainment Ltd present
The Braille Legacy
Monday 10 April to Saturday 24 June
Monday – Saturday at 7.30pm
Matinees Wednesday at 2.30pm
and Saturday at 3.00pm
Saturday 27 May at 3.00pm
Monday 29 May at 7.30pm