Anyone who has seen Back to the Future as many times as me (43,672, roughly) might be supposed to feel aggrieved at the idea of the best ever film getting the Ghost treatment and being turned into a musical. But we Bttf-heads are open-minded types, wise to the surprises of the space-time continuum; raised on a story that teaches you responsible libertarianism; that every action (such as bumping into your mum after you’ve accidentally travelled 30 years into the past) has a consequence, but also that free will is always an ally (perhaps that mad scientist can return you to 1985 if the DeLorean going at 88mph hits the bolt of lightning that strikes the clock tower at 10.04pm precisely).
And so the news that director Robert Zemeckis, screenwriter Bob Gale and composer Alan Silvestri are all on board for a Broadway transfer only excites. Music was already a driving force through the movie, from the Huey Lewis theme tune The Power of Love to Marty McFly’s futuristic rendition of Johnny B Goode. But it’s the original compositions I’m most looking forward to. Will Biff’s goons go in for barbershop harmonies? Might they use lutes in that car-chase toe-tapper The Libyans!? And how the heck are they going to find a rhyme for “jiggawatts”?
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