‘Back to the Future: The Musical’ @ Bass Performance Hall
—Rickey Wax
Who doesn’t love a bit of nostalgia? Back to the Future: The Musical—on its first national tour and stopping through March 29 at Bass Performance Hall (presented by Performing Arts Fort Worth)—is based, of course, on the 1985 film Back to the Future directed by Robert Zemeckis. The musical largely follows the same premise. Teenager Marty McFly is accidentally sent back to 1955 in a time-traveling DeLorean, where he must ensure his parents fall in love or risk erasing his own existence. While the stage adaptation keeps the bones of the original story intact, it expands the spectacle and leans heavily into theatrical illusion and design to bring the film’s iconic moments to life.
However, I think it’s best that some classics are just left alone.
Aside from the spectacle of the DeLorean, which to the production’s credit is undeniably impressive, this show doesn’t quite land as a musical. The first act, in particular, struggles under the weight of its own ambition. The score, with music and lyrics by Alan Silvestri and Glen Ballard, leans into an ‘80s-inspired sound, but much of it feels generic, even a bit synthetic.
Musical theatre thrives when songs deepen character or move the story forward, but here the numbers often feel like interruptions rather than extensions of the narrative. There’s a rush to deliver exposition, and as a result, the songs don’t quite cohere.
As Marty McFly, Lucas Hallauer brings the right look and a solid foundation, but the first half of the performance feels uneven. Some vocal moments don’t fully land, and the energy, while present, doesn’t always feel grounded. It is not a lack of effort, it just has not quite locked in yet. Opposite him, David Josefsberg as Doc Brown leans into the role’s eccentricity with clear comedic intent. There are bits that should soar, but a tendency to hold for laughs just a beat too long undercuts the rhythm. In comedy, timing is everything.
While we arrive in 1955 at the end of the first act, the production truly finds its footing in the second act. This is where the show loosens up and begins to feel like it’s having fun. As Marty navigates his parents’ teenage years, meeting Lorraine and George and trying to orchestrate their romance, the musical palette shifts. The score begins to incorporate doo-wop and other ‘50s-inspired styles, which feel more natural and better suited to the storytelling. Kathryn Adeline’s Lorraine and Mike Bindeman’s George help anchor this section with clearer character work, and the ensemble brings a stronger sense of cohesion.
Visually, the show comes alive here. The choreography by Chris Bailey leans into swing dance influences, with poodle skirts, slicked-back hair, and period flair that gives the production a sense of high camp and playful energy. It is in these moments, when the show stops trying to prove itself and simply entertains, that it works best. Even some of Doc’s dance-heavy sequences land more successfully here, adding a layer of fun that was missing earlier.
There are also a few standout moments that give the show a needed jolt of energy. “21st Century” lands as a genuinely fun dance number, with Doc riding a hoverboard across the stage, leaning fully into the show’s spectacle. Lucas Hallauer finds more confidence here, especially in “Put Your Mind to It,” where his vocals settle in and his movement feels more connected to the role. We also get a glimpse of his rock edge in “The Power of Love,” which suits him well.
Kathryn Adeline brings a playful charm to “Pretty Baby,” and as Goldie Wilson, Cartreze Tucker delivers “Gotta Start Somewhere” with an upbeat, vocally agile performance, filled with riffs and melismatic phrasing that add texture to the number.
By the end, Back to the Future: The Musical feels less like a fully realized musical and more like a spectacle-driven experience. But it’s big, it’s flashy, and it is clearly designed to delight audiences who love the film. And to be fair, it does. There is an audience for this. Families, fans of the original, anyone looking for an easy, nostalgic night at the theatre. It’s cheesy, but if you’ve got the time and the nostalgia, it’s still a ride worth taking.
WHEN: March 24-29, 2026
WHERE: 525 Commerce St, Fort Worth
WEB: www.basshall.com
