I attempted to have a goth phase in high school (back then I was dating a girl [yup, it was that long ago!] who was goth, and that was why) and I pretty much just looked like this...

I love this movie so much, and this single line is a big part of why!

Awesome! Thanks for checking my first knitting project out!

10/10 On a final note, and special shout out to the 2 ASL interpreters! They were having a blast, and it was great! Seeing their ASL translation of the song Earth Angel was one of my favorite parts of the show! Producers should seriously consider having them at every show!
#MusicalTheatre

9/10 Leah Thompson beautifully walked a fine line between owning her sexuality and being demure. Lorraine doesn't get that here. She's written as practically a predator. With backup dancers for some reason.
#BackToTheFutureTheMusical

8/10 Why does George have weird mannerisms and vocal tics? Because Crispin Glover did. The only times characterizations differ is when they move away from the heart of the film and towards caricature. Why should Doc have a heart when he can just scream his lines?

7/10 So why can't Marty find it if it hasn't moved? That's never explained. It relies on the audience being so familiar with the movie that they never question it. The direction relies on this too, with costumes and even accents mimicking the film.

6/10 A big early plot point is that Marty can't find Doc's lab. That's why he meets his parents and creates the major conflict. In the movie, he can't find it because 80s Doc was working in a new lab after his 50s lab burnt down. On stage, it's the same room. Marty even knows where things are in it.

5/10 This is the biggest problem with BTTF on stage. I blame directing mostly, but also writing. It's obvious that the writers are not well versed in the medium. The cast worked so hard to make something out of this, but they couldn't overcome the potholes and pitfalls given to them by the writers.

4/10 But BTTF doesn't start from that dark place. The film is cheerful and nostalgic, so tying it into the inherent camp of musical theatre just makes it impossible over the top. The movie works because it has heart and commits to its premise, no matter how far fetched. The musical laughs it off.

3/10 Then I realized that this was directed by the same guy who directed Urinetown, and it began to make sense. That show thrived because the tongue-in-cheek direction fit perfectly with the dystopian story it was telling. It made it a Brechtian delight that balanced the dark and light perfectly.

2/10 My second thought was that maybe this was created by people who don't like musical theatre and it's some kind of meta statement about how not every damn movie needs to be made into a musical? The song and dance numbers were so obviously pasted on that the characters mentioned how odd they were.