Back to the Future: The Musical (Recap and Review) with Farah Gilmore, Tony Ruscoe and Eric Tate

July 3rd, 1985 - a day that a little time travel movie produced by Steven Spielberg and directed by Robert Zemeckis called Back to the Future was released to the public. This podcast will dive into the world of BTTF, and discuss the movies, characters, and behind-the-scenes details on one of the greatest trilogies of all time. So buckle in, make sure your flux capacitor is fluxing, and enjoy the 88 mile per hour adventure of the Back to the Future trilogy. Order the "Back from the Future" paperback with expanded material!

Amazon- https://bit.ly/BackFromTheFutureBook
Bookshop- https://bit.ly/BackFromTheFuturebook
Barnes and Noble- https://bit.ly/BackFromtheFutureBook
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Chapters indigo- https://bit.ly/BackFromThefutureBook


Back to the Future: The Podcast is produced and presented by Brad Gilmore, and is not affiliated with the Back to the Future franchise. This show is meant for entertainment and documentary purposes only, and does not intend to infringe on any copyrights of Universal Pictures, Back to the Future, or any of its characters, clips or music. Brad Gilmore expresses views and statements which represent that of the hosts and the guests of the program alone. The statements made on this program are in no way intended to represent views of any other organization affiliated with the hosts or guests and in no way represent the views of the sponsors.

Episode Transcript

(00:00):
Hi, everybody. This is BobGail, co creator Back to the Future,
and you're listening to Brad Gilmore.Stop Stop, okay, black Stock,
it's ma'sree, it's Marten. Can't. It's just such a bat to
the future. Oh, I knowyou did send me back to the future,
but I'm back. I'm back fromthe future. Wait a minute,

(00:24):
Wait my gosh, f are you'retelling me that you built the time machine?
The way I see it, You'regonna build a time of scene.
Why not doing some style? Hello, ladies and gentlemen, Welcome to Back
in the Future of the podcast,the only podcast looking to back in time

(00:45):
for its film, Treat You AnyTime Back to the Future. I'm your
friend in time Brad Gilmore. Today'sepisode, I'm going to take you through
my trip to New York City,New York to see Back to the Future
the musical. You'll hear my wifeand eyes, a pre musical, thoughts
during the musical, and a littlebit after and then I'm welcoming on Tony
from Back to the Future of theMusical fans and Eric Tate returns to the

(01:08):
podcast for his third time, andwe have a full on spoiler discussion of
Back to the Future of the Musical. I mean spoilers, So if you
do not want to know anything aboutthe musical, do not listen any further
to this edition of Back to theFuture of the Podcast, Season ten,
talking Back to the Future the Musical. Okay, we are here at Bush

(01:32):
and Orkana Airport, standing at GateCE ten, ready to board our flight
to Newark, which is New Jerseyfor everybody who doesn't know, I'm here
with my lovely wife, Pharah Pharisee. Hi. Hello, So we are
getting ready to get on the plane. We're going to go to New York
and tomorrow we're gonna see Back inthe Future the musical. How does that
make you feel? I'm really lookingforward to it. I know you.

(01:53):
When did you buy the What werethese tickets for? You brought them from
what? My birthday? I literallycan't remember, but some sort of celebration
or maybe just because because I'm thebest wife. She is the best wife.
But we're gonna be boarding here shortlyand then flying off to NYC.
And I'm really excited. We're gonnabring you. We're gonna bring you the

(02:14):
whole experience, from top to bottomof what's gonna happen here as we embark
on the journey to Back to theFuture of the music. All right,
we are waiting the Uber. We'rehere in New York City. We're waiting
the Uber to come pick us upand take us to the Winter Garden Theater
and that what it's called, theWinter Garden Theater where they're gonna be showing

(02:36):
Back to the Future musical. Mywife and I are ready for this to
go down. We're gonna bring youour our second by second thoughts. We're
gonna talk about the set in thetheater, the queue, the gift shop,
everything. It's about to get real, guys. All right, So
we're here in front of the WinterGarden Theater in New York, New York.
Faris cold, right, Yeah,it's a bit nippy, but it

(02:58):
feels nice. It's refreshing. We'lllooking at a big poster of some of
the original members of Back to theFuture, Chris Lloyd, Mate Fox,
Toms, Leah Thomas, and HueyLewis. Mickey J. Fox called this
spectacular. The cast is dynamite.Casey Likes is a terrific Marty. Roger
Bart has always been something of agenius. I will definitely see it again.

(03:21):
Chris Lloyd sat Back to the Futureon Broadway is an amazing on every
level. Roger Bard has brought hisown genius and creativity to the role of
Doc and it's wonderful. I'm fair, I don't even really know what to
expect. I am excited, Ireally am. I'm excited to see what
the show is like. I'm excitedto hear the music, to see the
costumes, the characters. Because I'venot to anything, I haven't read anything.

(03:46):
I've had a couple of conversations onthe podcasts about it, but I
don't know much about it. He'sgot Delorean's honest time. I do have
a DeLorean tile and it's very nice. It's like an emerald green with like
a many modern days Deloreans. That'sright. So let's go get a hot
dog and then we're going to standin the line. What's to see?

(04:08):
What's that saying hot dogs? Idon't know something about a hot dog?
Hot dog? Hot dog? Yeah, you know, saying from the South.
We're gonna go into oh, lookthere's the store. Let them.
Let to go into the Badger's withyour store, and we're gonna get a

(04:28):
hot dog and then we're gonna cutwait in line. All right. Now
we're sitting in the Winter Garden Theater. You hear the music. It's there,
huge screen right there in front ofus. So like, it's cool
how they did the sides. Yousee the what are those called, like
the balcony seating, you know.You see how they have like the kind

(04:49):
of outline. It looks like adigital generated like inside the flux capacitor type
stuff. And you see the wholetheater is kind of outline like that.
We are center right on the onthe mezzanine, perfect view. Take a
picture made of the bag to thefuture of the musical. This is pretty

(05:13):
cool. It's a good size.It's a good sized theater. I don't
know how many seats. I'm eccier. Hey, what are your first impressions
here? I'm really excited. Thisis very cozy, welcoming lights are flashing.
Blue. Blue is a good color. Blue is a good color.

(05:34):
And I don't think we've been tothis theater, have we? No?
No, we were just passing Chicagobe where we went and saw Pamil L.
Anderson in Chicago. The seats arecomfortable. Look at this, No
photography during the show. It mightinterrupt the space time continuous, but it's
okay to photograph this and tag hashtagthat to your future. All right,

(05:59):
where there we go. We havethe playbills in hand. There's your playbill.
We're here at the intermission. Fair, just one word so far to
describe your thoughts of what we've seento this moment. Exhilarating, exhilarating,
I say mine, fun right,it's been very fun the whole time there's

(06:20):
been. There's a lot of changesfrom the original movie that I'll go into
probably later on in the show.But yeah, who who stands out to
you so far? Like actor wise? What we think of Marty? Marty's
good. He's nailing it with likethe voice character actor. Yes, I

(06:43):
can tell you love him well.He sounds just like Chrispin Glover. We
think of the talk doc. IsCourtky's funny? Ya a different energy than
the Chris Lloyd dog. Yes,it is. It's more jokery vibes Joker.
I don't know, you think he'sacting like the Joker a little bit.
I like Beetlejuice. I can seeBeetlejuice ish, not the Joker.

(07:11):
That's not killing anybody. I likethe Joker. The production is fantastic.
I mean, oh, I don'tknow. Lights, the lights, the
sets, the changing of the sets, the clothes, the numbers and the
and then on the screen and theway that DeLorean made its interest. All

(07:32):
of a sudden, it like wentoff and I didn't see it where it
came from. Yeah, I waslike screeching through the stage, and then
all the lights and the sound effectsreally set it off. We'll report more
back when it's over. Thank youfor tuning in. All right, we're
walking through Times Square. We justleft back through to the musical. I

(07:55):
asked my wife what did she think? What did you think? It was
spectacular? Absolutely amazing. Does itrank high for you as far as like
the shows that we've seen, inthe plays that we've seen. Yeah,
almost, I mean I want tosay it's up there. It could be
number one. I think it's asfar as the I mean, it probably
is number one. The production wasout of this world lighting, sound,

(08:18):
the what is the what are thosecalled? The equipment? The like the
production the sets, Yeah, thestage, the product, equipment, props.
It was incredible, you know,I know, let's call another block
up that work all right, guys, Welcome back to Back to the Future

(08:39):
of the podcast. I'm your friendand TODM Brad Gilmore, joined by a
couple of my favorite folks in thisBTTF community. Uh, joining me to
talk about Back to the Future ofthe musical that I finally saw after all
this time and all this anticipation.Joining me is Eric from COLLECTBTTF dot com.
Eric, how are you, sir? Doing well? Good? Good

(09:01):
to have you back on and joiningthe podcast again. Tony from Back to
the Future Musical fans. Tony,how's everything going over there and in your
neck of the woods? Yeah,fantastic. Thanks for having me again,
Brad, good to see y'all.Good, good to see y'all. Man.
And I know, actually y'all gotto meet at the musical, right,
that's correct, Yes we did.Yeah, it was that at the

(09:22):
premiere of the of the Broadway openingweek or where was this? What was
this? That was the opening preview? I believe on June thirtieth is when
we first met. Yeah, that'sright. And was it one of those
things like you know the Spider Manmeme where they're pointing at each other?
Was it one of those Tony whereyou're like, hey, it's you.
There was a lot of that goingon with a lot of people dresses Marty.

(09:46):
It was like, you know,people, people were getting together and
you know, giving stickers and bodgiesout and saying hi, and you know,
a lot of the time, youknow, I know Eric's page and
website, but I don't think Iever seen his face. A lot of
these people, it's like you're tryingto put names to faces and like you
know sometimes like what's your Instagram handle? Put that to a face instead.

(10:07):
Yeah, no, there was quiteagreeables all goat of that. For the
opening preview, yeah, oh yeah, we had we had met up.
I introduced myself, my wife waswith me. We all just hung out
for a while. And while wewere waiting for the store that's there to
open, I posted a picture fromthe outside. So Tony must have gotten
you know, seen it on hisphone. He's like, all right,

(10:28):
who here is collect BTTF. Iwas like, yeah, that's hi,
and he's like okay. Then thenyou know, the rest is history.
So then the rest is history,and then and then now the for the
opening previews, and Eric, Ithink you talked to you and I talked
about this on the last podcast wedid together, Tony, there weren't there
other luminaries from the Back to theFuture universe, some of the cast and

(10:50):
crew or is that on opening night? The real big one was the Gala
performance. But on the preview performance, I mean both is always down at
the theater as soon as they openin London when they could changed the cast.
When they opened Broadway, pop girlsalways around Alan Silvestri and Glen Ballard
as well the music and lyrics.Guys, they're always hanging around for the

(11:15):
first few previews, so they werethere. Yeah, I'm not sure on
the owing preview who else was there? I mean obviously the producer Colin Ingram,
director John Randa, like that.They're all they were all hanging around.
But no, the big night wasthe Garala performance in July. Yeah,
that was where I think, youknow, Michael J. Fox and

(11:35):
in the like were there in thatone. But guys, look it was
my I was telling Eric this Tony. Last time that I had him on
the show was I got the book, the Back to the Future Musical Book,
but I didn't crack the spine onit because I said, I don't
want to know anything about it untilI see the musical itself. And again,
I'm actually pretty proud of myself fornot getting spoiled on anything going into

(11:58):
it. And I will say andpeople will hear it before our conversation,
but you know, I was soenthralled and blown away by this. Now
I'm a theater fan, I'm amusical fan. I go to Broadway as
often as I can. There's alot of shows in Houston that I go
to. I mean, I've beenat the theater four or five times this

(12:20):
year in Houston. Love it andthis show and I'm not being hyperbolic,
I promise is the most impressive performanceI've ever seen in a live theater situation.
I mean from the production, fromthe musical numbers, the changing of
the sets, the way the theaterwas decorated, even like the opening before

(12:45):
the show starts, the little countdowns, and the way that everything is set
up. I was blown away by. I can't even begin to tell you.
Was that your first experience to Tonyof just like, wow, look
at that they were able to pulloff with this. Yeah, I get
in goosebumps from you just describing it. No, Yeah, I saw the

(13:05):
first the first previews back in Manchesterwhen they opened and they did their limited
twelve week run, and I haveno idea what to expect. And even
then, especially then, there's beenbecause there's no production photography, there were
no trailers that there was like acouple of music videos out where there was
just in a studio singing, soyou got to hear a couple of the

(13:26):
tracks. But apart from that,you really did not know what to expect.
I think they had some rehearsal footagewhere they were in a studio environment,
no set pieces, maybe a frameof a delore and they were wheeling
around. And know that they changeda bit from the openings, and you
know the opening run and things,but that that moment that it, you
know, you're the first scene inDoc's garage from that moment right through to

(13:50):
the finale, Like my face wasjust aching from grinning, like it was
just yeah, no point did Istop smiling, and like just being immersed
in what was happening and to behonest with each different iteration of it.
So the same when they opened inLondon, when they do the cast change
in London, they make slight tweekseach year. When they opened on Broadway

(14:11):
they've made some tweaks, and everysingle one it's just like seeing it again
for the first time with a brandnew cast, a new fresh take on
it. So you know, youstill get that first watch feeling again and
again and again whenever you go andsee it. Oh man, Well,
as you're talking like, I'm rememberingmy whole experience like frame f frame Eric,
same for you, right, didyou remind me did you stay spoiler

(14:37):
free mostly going into it and thatdoesn't seem like your style kind of yes,
kind of no. Yeah, toanswer your question, that was kind
of my same experience. So Ithink, without disparaging other franchises, we
all know that Bob Gail and Bob'samcasare very protective over Back to the Future

(14:58):
and what they will allow in anofficial capacity the franchise to be used for.
So the fact that they have theirhands direct in this and all that,
I was very optimistic going into itthat it was gonna blow my mind.
Even with all that expectation, itstill just blew me away beyond anything

(15:20):
I could have thought of. So, like, basically the same thing Tony
said, like, just you're speechlesswatching this as you just found out,
But as far as the spoilers go. In all that, I kind of
stayed spoiler free. I didn't lookinto like insider stuff, like one of
the groups that Tony manages is aspoilers group. I stayed out of that.
But when the cast recording came out, I think it was last March.

(15:43):
I think maybe March of twenty twentytwo. I think from that day
forward, I listened to it almostevery day. So there's a couple spoilers
as far as plot goes within thecast recording, but beyond that, I
stayed spoiler free. Yeah, itwas so hard for me to not to
because I'm such a music guy.It was so hard for me to not
listen to that cash recording for ayear eighteen months and stay away from it.

(16:07):
Now, Okay, this is reallywhere I want to get into the
as we say, meat and potatoesof the subject here, because as Eric
said, we know the Bobs arevery protective of the franchise, as they
should be. Now, I'm gonnasay something here that's going to surprise a
lot of people because I have alwaysbeen like, hey man, I'm not
rooting for it, but if theymake it back to the future, for

(16:30):
they do a TV series. I'mone hundred percent open to it. Go
ahead, if it's great, it'sgreat. I have changed my entire view
on that after the musical, andI'll tell you why, because when it
started at first, when the musicalbegins, I was so nervous. And
this is gonna sound crazy, Iknow, but this is my real feeling,

(16:52):
so I don't mind saying it.I was so nervous. It wasn't
going to be good. I wasso nervous. I was like, please
do not take down my love forBack to the Future at all. I
was. I mean, I'm notjoking. I felt it in my stomach
when the when I saw Doc's garageon stage, and I was like,
oh, yeah, I cannot dothis to myself if they make a bad
Back to the Future project or movie. I didn't like how I was feeling.

(17:17):
And then as soon as the gentleman'splaying Marty, which I believe is
uh now changed, at the time, I think it was like, is
his last name still remain Okay?So Casey, Like as soon as he
comes out and he starts doing theDoc's garage beginning, I'm still I'm like,

(17:38):
I'm like, okay, I likethis but I'm I was a little
hesitant to commit, and it wassomewhere after the the amplifier explodes that I
was like all in on this.Now, here's what I want to ask
you all, Eric. Let mestart with you, because you told me,
Eric there was going to be slightmodification from the original story, and

(18:03):
already in the doc's garage scene,I remember there's a few small changes,
right, I mean, there's notthe radio commercial for this, there's the
radio playing, and it's not theTV for the plutonium case, right,
the story of it from the newsreporter. There's small little things like that,
I'm going on Marty's trying to stopa recording I believe of doc,

(18:26):
if memory serves me correct, insteadof just wanting to knock the amplifier out
of control or what have you.When you started seeing these small changes at
the very beginning, Eric, whatwas your immediate reaction. Let me ask
you that. What was your immediatereaction? Was it like, oh cool,
I like that this is different orwhoa, whoa, whoa, whoa
what's going on here? Big smileon my face, big smile. Yeah.

(18:48):
So, kind of going back towhat I said before, I'm glad
that they didn't phone this in.You know, there's plenty of places where
a big name has been placed ona production of anything, whether it's a
Broadway show or something else where theyphoned it in and just expect you to
buy based on the name alone.Back to the future of the musical.
Didn't do that. They have allthese subtle changes. So like that initial

(19:10):
intro I think is perfect for thestage. It gets you hyped up.
They don't so in the movie.It makes sense in the movie that that
scene is drawn out, building upto him plugging into the amplifier and all.
That doesn't make sense to do thatin a musical form. You're gonna
get the crowd board already. Sofor that scene to go so quickly and
build up so quickly into that amplifierscene and then break out into song,

(19:32):
I think it was a perfect change. It was great the way it was
tony for you when you started noticingthe early differences between the film version and
the stage version. Again, wereyou apprehensive or were you kind of in
for the ride? Yeah, Ithink I was really apprehensive when I first

(19:55):
even heard they were doing the musical. In my head, I'd got it
done and this was like years beforeit was released as well. I got
it down as like a jukebox musicalwhere they were going to pull in like
you know, popular fifties songs andeighties songs, and you know, I
had this vision in my head ofyou know, Marty's standing on stage at
the enchannel of the Sea dance playingJohnny be Good. But apart from that,
everything else was a bit could besketchy, like where they're going to

(20:17):
do what they're going to do withit, But no, as soon as
I mean, for a start,the set was amazing. So as soon
as you see docs lab, youknow they've put the detail in For any
fan of the movie, you canimmediately start to look at Easter eggs and
and things on the stage, andthen you're trying to pay attention to what's

(20:37):
going on. And of course thereare differences, and I think, as
Eric says, you know, theopening scene of the movie would not work
on stage because it's using so manyclose ups of clocks and it's taking you
along on this journey, and youcan't do that on the stage. You
can't do close ups, so you'vegot to do it in other ways.
But I think, you know,you go through the you go, you

(20:59):
start with the docs libe. Itopens up. You see the town square,
you see the clotsower, You've gotall these familiar elements. You know
immediately that they've been paying attention.You know they've got all I think for
me, the real big turning pointfor me was as soon as there's any
dialogue, and you know the dialogue. You know, they've got the dialogue
that is in the musical, andfor some musicals, you know there's very

(21:21):
little dialogue that it's like all insong. But what they've done is got
a really good balance here of usingoriginal dialogue from the movie, new dialogue
and song. And I feel they'vedone a great job with balancing it all
out so it feels super familiar.You know those lines, but then occasionally
there's a curveball in there, orthere's a different line, or there's a
different scene, and I think they'vedone a great job of doing that.

(21:45):
Yeah, I noticed again because thethree of us, I'm sure had the
original script burned in our memories,line for line, and we know the
beats and we know the pauses andthe inflections. And I will say Casey
likes inflections of more Prey were veryspot on in my mind to the to
the Michael J. Fox version ofthe character, and I think we're very

(22:07):
true to form. And then theopening number, It's only a matter of
time. Really enjoyed the you know, using the original score within that theme.
But I want to fast forward alittle bit because I don't want to
give everyone, you know, blowby blow the musical. I don't want
to give it away completely. Butlet's get to the Twin Pines. Mall.

(22:27):
Okay, So this was where Ifirst started noticing some some major differences,
especially when it came to the timemachine. But even before that,
to go off what Tony said,I had a question for both of y'all
as of what you thought the reasoningfor this one. So when Doc is
explaining to Marty how the time machineworks, he's going through, say,

(22:49):
you want to see the signing ofthe Declaration of Indevenents, and you know,
boom boomom types it in now inthe movie, the next line is
or the Birth of Jesus Christ,and December twenty fifth is year zero zero
zero in the musical, at leastin the version that I saw, he
says, or witness the assassination ofPresident Kennedy. Okay, and he puts
it in. Now there's my questionto you all. Do you think that

(23:11):
they took the Jesus Christ line outto just not make have any overtures of
religion or did they put that inthere to make the joke later about Mike
about John F. Kennedy land alittle bit harder. Tony, you're shaking
your head. I'm nodding for thatone. Yeah. I think, you
know, the writing is really clever, and I think it's no accident that

(23:33):
they mentioned JFK there and then lateron. Yeah, I think, Tony
Frozier, for I think my kidsare like streaming movies and things. Sorry,
you're fine. Yeah, I thinkit's no accident that they mentioned it
at the start and then later on, and they didn't do that in the
movie, but for whatever reason.Yeah, But I think it doesn't make

(23:57):
a huge difference, right. Ithink. I know the has been discussed
in our group, like you knowthe meaning of that and what could it
mean? And people can overanalyze anddissect things. But I think that this
was an opportunity for Bob to reflectback on the script, I think,
and look for those opportunities when therecould be an extra an extra gag,

(24:18):
or an extra loop back or youknow, something else to bring the audience
along. Plus I think that it'spossible. Now it's a different audience going
watching this. There's probably people inthe audience who maybe don't know who John
F. Kennedy is, and soI think you're planting that seed that someone's
been assassinated. And then like youknow, years earlier, they're not even

(24:41):
president and people won't know who theyare. So it's just like, yeah,
I think it's just a threat thatthey introduced. Now, there's a
lot different in this in this scenethat I also I got to get Eric
in on you on but first,well, actually before that, when the
Deloreum makes it today be you onthe stage. It's one of the most

(25:02):
fantastic moments of not just that musical, but anything I've ever seen in live
entertainment, because you get the flashesof light throughout the Winter Garden Theater where
we saw it, and you know, the light is built out around the
boxes that are in the balcony,and then all of a sudden, the
DeLorean just appears on the stage andlook, I'm somebody who I've worked in

(25:26):
entertainment for a long time. Ilike looking at the behind the scenes.
I've worked in theater before at asmaller level, worked in pro wrestling,
which is its own version of theater, and I know how we in the
business say gimmick things. I cannotfigure out that DeLorean, which I love,
and I'm sure y'all both know exactlyhow it's gonna how it happened,
and you can break it down forsecond by second, but I did not

(25:48):
know how it happened. It wasone of the moments, which is one
of the most pure moments of myexperience, where my wife and I look
at each other and go, howdid they do that? You know,
it was just such an awesome moment. Did you have that to Eric when
the Delory makes its first appearance?I did exactly that, kind of like
you were talking about earlier. Itjust it blew me away. We were

(26:10):
sitting there and even just expecting everythingthat we were expecting when those lights started
flashing and that DeLorean basically just appearsout of thin air. Like I clunched
my wife's hand. I was like, oh my gosh, this isn't this
is insane. When that happened,that's when I go, I'm in,
like, I'm all the way in. As soon as that happens. Any
trepidation that I might have had anyover analyzing, like Tony was saying about

(26:33):
the different lines and what could theymean? It was all gone. It
was all gone at the moment ofthe delaory. And now there's a few
changes with this scene. Obviously there'sno Einstein. I understand that's an obvious
cut for the stage. And howyou gonna do that? Are you gonna
put a person as a dog?No, that's not gonna work. Do
you want a dog? Dummy?No? You can't train a dog to
be in the musical and hit hisspot every single time. Probably never worked

(26:56):
with kids and animals, right asthe old show biz. So I get
that in Tony, do you doyou feel that they Why do you feel
that they added the voice activation ofthe DeLorean? It seemed to me at
first it seems a hurt like Idon't know. I'm not gonna say unnecessary,
but I just don't know. Ididn't understand the reasoning behind it,

(27:18):
but I wasn't against it. Yeah, I think I don't know whether it's
Bob who spoke about this or Johnor some of the creative team. Really,
you know, when anyone is everentering the dates into the DeLorean,
you see them entering the keypad andsee the screen in the time circuits.
And it's back to what I wassaying about the opening scene. They're using

(27:41):
close ups there and you can seewhat people are doing. You cannot do
a close up with inside the Delarey. In the time circuits, you can
see them. Actually, if you'rein the right seats, you can see
the time circuits and the key pad. Everything's in the DeLorean. But the
effect of like entering a date andseeing it on the screen is recreate for
the stage by you speak the dateinto the voice circuits and then it gets

(28:04):
repeated by the voice of the DeLorean. And also there is a voice activated
DeLorean in the animated series, andso there's like a loop back to a
possible I think there's lots of differentparts of the franchise where they have borrowed
things from. I think there's somereferences to some things from the game,
from the original scripts, from thenovelization, from and I think you know

(28:30):
knows all of this stuff because helike governs over all of it, where
he reviews it before it gets published, and so I think I have heard
them say that that's you know,they realize that they can't do that the
float's capacitor, right, Doc getsit, brings it out of the car
and shows it to Marti, whereasin the movie you just like, it's
here my shoulder, And so youknow, they were really careful to make

(28:51):
sure that the audience still gets thatsame feeling, but using tricks of the
stage rather than close up so youcan do in movies. That actually makes
perfect sense. Do you think thatit and then just making it Doc's voice
eric was instead of the because youremember at the in the climax of the
movie where Marty's about to go backto the future, the DeLorean stops right

(29:15):
and it doesn't work, and there'sthe timer on the dashboard, there's all
these things. Was the was thevoice activation there just to make us go,
oh man, he can't get backto save Doc because he can't change
the time because it only Doc cando that. Yeah, so, uh,
I got a huge kick out ofthe voice activation. I didn't know
about any of that going in,and I don't know the behind the scenes

(29:37):
reasons as to why, but everythingTony said, makes sense, But it's
one of those changes that makes yourealize that even as the biggest Back to
the Future fan, you don't knowwhat's to come, so you don't know
what's what that ending is going tobe like. And adding in that recognition
of Doc's voice makes you realize,like, oh, Marty's not gonna have

(29:59):
an easy time getting back, andit adds so much humor, like him
trying to impersonate Doc later. It'sjust it's such a great moment. And
Roger Bart, who played Doc inthe version that I saw and has been
probably the most most frequent Doc thatwe've seen in the play, is just

(30:19):
so good in the role and bringssuch a different energy than Chris Lloyd.
But that I really appreciated now.The radio active suit that is not air
tight that Doc used on the ManhattanProject, that isn't as tightly fitting as
he thought it was. What didwe think of this? Did we like

(30:41):
this, Tony? Do we likethis? Angle? I get why you
don't do the Libyans thing, especiallytwenty twenty three, especially with all the
stuff that's going on in the worldand that's happened since eighty five. Might
want to stray away from terrorism andbombs and things of that nature. I
understand that. Did you like thiskind of change? Yeah, you know,

(31:03):
I think, like you say,when you're watching it, you start
to clock these differences, and thatwas like, this is a major one,
and I think it's it's obvious whyas well. They can't have like
a volkswe kampervan driving on the stageand so they would have to have people
running on just it just kind ofwouldn't work to well any kind of like
chase like that. I think thisis another one of those nice references.

(31:26):
Like in the comic books they talka little bit about the Manhattan Project days
with Doc and you're sort of likeyou're building a bit of character with him,
Like you realize he's been doing thissort of thing for years. He's
not just like, you know,an inventor. He's also like he's a
scientist at the end of the day. I think, you know, there's

(31:47):
lots of different things they could havedone with how you know, Marty would
have to save Doc, like whathis future is going to be if if
Martin doesn't go and change it.But it works, like I'm to use
a line musical, but yeah,it's I think it's not one of the
For me, it's just incidental.It's like I'm on board with it,

(32:08):
like, you know, it works, it's there, that's what happens.
Okay, I I understand that.Now, let's keep going with it.
Yeah, did you also very humorous? Sorry, go ahead. No,
I didn't have any issues with it. I think it's a very humorous moment
for the younger kids in the crowdtoo, like, oh, you know,
he ripped his pants ha ha ha, you know I could see his

(32:28):
undies kind of thing, you know. And No, I had no issue
with it. I I agree withone hundred percent that they needed to not
include terrorists and stuff like that,because this is supposed to have mass appeal,
This is supposed to be something youcan bring your kids to, and
just taking that out of it wasa good choice. And this is though,

(32:53):
this is probably the most major thingthat going back to what I said
before, that is spoiled if youlisten to the cast recording before you go
see the play, is that youcan hear from the cast recording that there's
no terrorist. He got radiated.So so I knew that going in.
I just didn't know how they weregoing to pull off that incident, and

(33:13):
I like how they did it.I think it was It's obviously an important
and serious scene because if you're immersingyourself in the play, Doc is dying
before your eyes, But they didit in a way that still gives it
that humorous feeling and still keeps youlike upbeat through it. So I think
they did it really well. Iwill I will add this right. You

(33:36):
know, a lot of people thinkthat Roger bart On the way he plays
Doc is like really comedic, andyou know, he's like using lots of
physical humor and physical comedy. Butif you watch how Roger bart is dying
in that moment, like you believeit, like he is playing the ultimate,
the absolute truth that Doc is dying, and never once does he break

(33:59):
out of that character. Know,obviously he's a professional and he's an amazing
actor, but I think people don'trealize that that in that moment that is
happening, he is radiated, He'sdying, and he plays that truth.
It's really moving when you watch himdo it. Actually, you know it
is too and a lot of thetimes, for stage in general, you
have to play bigger, right,just for the room you got to play

(34:21):
to the back row. That's whatpeople say. And I understand some of
the Although Chris Lloyd plays plenty bigin the in the Backs of the Future
movies, I understand why Roger Bartmight have turned it up an extra level
in certain segments and scenes. Butto what Tony said, his whole his
whole disposition changes in that moment,even the way he holds his shoulders,

(34:44):
the tombre of his voice gets intoa lower register. He realizes the error
in his ways almost instantly. Andwhat I like about this change, And
I not that I want to changeanything about the movie, but if they
had done this in the movie,I wouldn't mind it because it actually adds
even more to the ticking clock,because he's not dead when Marty leaves right

(35:07):
for all intentsive purposes, when hegets shot by the terrorist, we're to
believe that Doc is gone, likeone hundred percent gone, which is why
Marty has to get back earlier totry to prevent the shooting. In this
one, you know he's got radiationpoisoning and he's trying to we know that
there's the parobial ticking clock going off, so it's his extra layer. Not

(35:28):
only does Marty have to hit theclock tower by this certain time, can
he get back in time to savehis friend Doc. I thought that the
radiation, even the effect of thegloves on the stage was just so good.
And that just gets me back tothe production. I don't know what
the budget is for the production ofthis musical. It's got to be astronomical.

(35:49):
There is so much money spent onthis and you can see it's spent
on the production, the swing setsthat they have, just the lighting,
the musical cues, the epics thatare incorporated, and I actually like how
they incorporate a lot of the graphicsof when Marty's driving, like the driving
scenes in the DeLorean. You know, they feel good. It doesn't seem

(36:12):
like, oh, I'm sitting ina chair and just moving my arms right
like you see and feel the actionof the moment. And when he's transported
to the Peabody House in the fifties, it's great. It's just a great
moment. Man. I love itcompletely. Now another big change, well
not so much a big change,but when you get into some of the

(36:36):
musical numbers. I did like howthey told the story, obviously, especially
in the first act You have thisoverture of Marty feeling like he has no
future, which I don't think wasas explicit in the movie. I mean,
you got the feeling of he hadthe sense of rejection that he like

(36:57):
his old man, but don't Idon't remember more so much worrying about his
future. But I liked how theyimplemented this as an overture Eric throughout the
theme of the musical. Yes,so I agree. I think they added
quite a bit more backstory with someof the characters. I'm sure we'll get

(37:19):
to it, but you know,think of like Goldie for example. So
there's a lot more backstory with thecharacters. And I really like that with
the musical. Kind of like youwere saying about Roger before, these actors,
they're not trying like Roger Bart isnot trying to play Christopher Lloyd.
Roger Bart is presenting his version,his best version of Doc Brown, and

(37:43):
Casey likes and Olie Dobson and allthe other actors that have played Marty are
presenting their version of Marty McFly.They're not trying to be Michael J.
Fox. And as far as thewriting and the production goes, yeah,
I fully agree. That backstory,like it really helps immerse you in the
experience. And you know, there'sa lot of you know, when you're

(38:04):
watching the movie, you can kindof assume and make up your kind of
own backstory for Marty and wonder ishe the confident, popular teenager, is
he the not confident teenager who kindof gets bullied? Or is he a
quiet kid? Is he allowed kid? You know, all that stuff you
kind of make up in your mind, whereas in the musical they set it
straight for you and they tell youthe exact type of person Marty is,

(38:28):
there's no question about it. Theygive you the sympathy for him, and
they get you really rooting for him. Nothing you're not rooting for him in
the movie, but like you likereally feel for Marty just through all those
musical numbers and really feel like he'syou know, down on his luck,
feeling bad about himself, and youget to really watch him rise from that.
It's great. I love how theydid it. Now you mentioned a

(38:49):
character, and Tony, I wantto ask you about this one because one
of the shows stealing characters, especiallyin his particular number as well, is
Goldie Wilson. Wilson hits some highhighs for me in the musical, did
you enjoy kind of the expanded roleyou know of Goldie? Yeah, oh
yeah. And I think you know, in the original cast Cedric Neil,

(39:14):
who's on the original cast recording,he's got the most amazing voice, and
so to see him in that numberand like all the cast around him and
him leading that ensemble number was amazing. And then you know, to see
him come back again in a coupleof the other cafe scenes, and you
know, he's now got a thingwith Doc, like helping Doc set up

(39:36):
the weather experiment and really sticking itto like Louke r others. I think,
I think it's nice to see thatthat additional bit of screen time for
Goldie and his I don't know whetheryou picked up on this, but there's
a subtle difference between the movie andthe musical. But in the movie,

(40:00):
in the original nineteen eighty five timeline, at the start of the movie,
Goldie is mayor. He's already elected, he's already mayor. In the musical,
he's not mayor yet, he's runningto be mayor. But at the
end of the movie he is mayor. And so there's one of the changes
that has happened as a result ofyou know, the new timeline that now
Goldie is actually already elected as mayorin nineteen eighty five, so in the

(40:22):
original time when we don't know whetherhe would ever have even been there or
he must have been actually because wellMartin knows he's running from there, but
he doesn't know that he's whether he'sgoing to get elected. So yeah,
there's another little a little bit.You know what. I actually didn't pick
up on that in my first itneither didn't pick up on that he wasn't
the mayor yet, you neither,Eric, Nope, Yeah, did not.

(40:44):
Well, see that's what repeat viewingsgo. So now I got to
go back. Now I got toconvince the wife can we go next weekend
and see this again? Now thisthere's a few other things that I want
to touch on with the musical.Now, there was an intermission after obviously
ends. During the intermission, therewas a family, a young family in

(41:06):
front of me, you know,a husband to kids, both boys,
probably eight and ten. If Ihad a guest and the wife, these
two boys, man, I'm notblind, you know, I actually started
to tear up when I heard themtalking about how much fun they were having.
Oh man, this is just likethe movie. And oh man,
Dad, Dad, did you seewhen they changed it? And they're so
fans And I'm thinking these kids wereborn in the twenty ten, maybe twenty

(41:30):
fifteen. They might have been bornin twenty fifteen, if my math is
right. And they are so overthe top enthralled, just like me,
just like Tony Yu, just likeEric when y'all saw it, and it
did speak to the generational aspect ofthis movie and what's drawn me to this
story for so many decades in mylove affair with this franchise was reaffirmed,

(41:58):
not only seeing the musical, butseeing these two kids who don't know at
what Tony said earlier, who probablyJohn F. Kennedy is, have no
idea who Ronald Reagan the actor is, have no really recollection of the fifties
because to them, the fifties isprobably the nineties right in their minds,
but they love back to the future. And it was such a beautiful moment.

(42:22):
And I just had to say thatnow coming out of Act one into
Act two, the twenty first centurynumber is so much fun and you really
get and you know what you talkabout expanded backstories. You actually understand Roger
Bard's doc so much more, evenfrom a number like that, which is

(42:44):
supposed to be kind of this fun, upbeat number. But Tony, I
feel like it reveals a lot aboutDoc. Yeah, I think I love
it. I think this is onethat really takes you by surprise for a
start, but you know whereabouts youare the story. You kind of know
in your head if you've watched themovies, you know what's going to come

(43:04):
next, and no one expects this. I think it does lose some people,
you know. I've seen people saylike, oh, I absolutely love
the musical, but what the heck, like was that needed? But I
think, like you say, youlearn a bit about him, and you'd
learn that like, this is what'sgoing on inside his head, and this

(43:24):
is like really he is actually,you know, a visionary and very aspirational
about where he wants to be,and he's thinking about the future constantly and
even more so when Marty arrives.So yeah, I think it does.
It does teach you a little bitabout him, and you know, it
is a nice nod to the present. If you think about when Back to

(43:46):
the Future came out, that's thefuture came out and it was the present,
nineteen eighty five was now and thenlike they were traveling back to fifty
five these days. If you goand watch it, it's all like going
to be all completely his storic andretro and it's like eighty five and fifty
five that's years ago. So atleast you know he's gone to the year.
He's gone to twenty first century,the year twenty twenty as it happens,

(44:10):
and so he can talk about someof the things that have happened since
nineteen eighty five to the twenty firstcentury, and we know that some of
them are true and some of themdon't make sense that you know. I
think it's great fun. Yeah,And I could see why some people might
think, like if you told me, Eric hey Man that twenty first century

(44:31):
number jumped the shark for me alittle bit, I could see why maybe
you might say that. But tome also, it's the most musical number
of the musical, right, Likewhen you think of like the traditional musical,
like a big set, big dancers, there's the flash, there's the
props, there's the toys, andI mean that's sprinkled throughout. But this

(44:51):
one in my opinion, was neededto not only start off the second act.
I think it was perfect to startthe s second act off, but
this was almost a good palate cleanserof let's have a little bit fun here
at the beginning of the act,let's get the juices flowing again before we
jump right back into the story.Yes, I agree, I think it

(45:15):
was needed. I totally agree withboth of you. I can understand how
some people maybe tuning out from that, but I loved it. And going
back to my history with building upto see the musical and just listening to
the cast recording, there was twothings regarding this that I had predicted and

(45:35):
questioned. I could tell just bylistening to the recording that the end of
Something about That Boy was going tobe the end of Act one, twenty
first Century was going to be thestart of Act two. It just had
that feel. So I predicted thatcorrectly. And then with twenty first century,
I kept questioning in my mind allthe way up to that first preview,
what is the situation here? IsDoc dreaming or is he like singing

(46:00):
to Marty about what he predicts thefuture is gonna be? And obviously we
got the answer he's, you know, having the dream sequence. I think
it was great. I think theydid it very well. It's very flashy.
Yeah, could some say maybe it'stoo flashy, Sure, but I
think I think it's great the wayit is. And circling back to those
kids that you just mentioned, theeight and ten year old, I'll bet

(46:22):
you they loved it. I willbet you that they were so enthralled by
it and absolutely loved that scene.This is not a play that is catering
only to the people that were watchingthe movie in nineteen eighty five. Like
I said before, this is cateringto kids too. And I'll bet you
every single kid loved that show andthat and that that musical number. You

(46:43):
know What's It's funny you say thatbecause when I was a kid. So
I'm here in Houston, Texas.Fans of the show probably probably know where
I'm look at it. But there'sa there's a legendary play in the Texas
area and it's called Greater Tuna,and they have the one that succeeds it
called Tuna Christmas. And it's twoguys who play all the characters. It's

(47:06):
about in this small town in Texas. So you know, they're real country
and you know whatever. And there'sa scene that everybody talks about in Tuna
Christmas where one of these characters seesa spaceship that's like his character arc throughout
the whole thing. I saw flyingSauce or I saw flying Sauce. And
in the play, at one point, all the lights are going crazy and

(47:30):
a ramp comes down to where itlooks like he's going onto a spaceship and
he walks on the ramp and leaves. People who love the Tudor plays go
ah, I couldn't get past them, you know, or are getting on
the spaceship. They really just lostme at that moment. As a kid,
to Eric's point, it was myfavorite part of the play, like,
oh, I got the spaceship camedown and they got him. So

(47:52):
the things that we might not havethe sensibility for is my point. As
adults, the kids probably we're inlove with the fact that he's on the
quote unquote hoverboard or the small things, and even playing to the time,
because Tony mentioned it's in twenty twenty, playing to the and you know,
the world was red of diseases andeverybody twenty it was a Great Year or

(48:15):
whatever the lines were. I thoughtwas really funny and clever. The scene
in the cafeteria between Biff and Martyand you know, when he hits him
and then it immediately they freeze andshe starts singing, Lorraine starts singing.

(48:37):
But then they do the chase aroundthe whole school and they're running on the
tables, they're throwing knives, they'rehiding in lockers, they're hiding in classrooms.
We got to see this expanded versionof Hill Valley High that we didn't
really get in the movie. Asfar as the challenge of pulling off a
scene like that night after night andhitting all the cues and the numbers and

(48:58):
everything that pretty much could go wrongwithin that scene, especially even the the
Darth Vader moment and the lightsabers atthe top of the lockers, which I
thought was real cute. That wasso impressive to me Tony from a production
standpoint, Yeah, it's a wildnumber for the end of that one.

(49:19):
You always like to end that oneon a big number. And I think
when you read the creating back tothe Future of the musical book you'll learn
that I think they were going toend at one on Back in Time.
They were going to put back inTime into the musical. They were going
to have like you know, Martysinging about how he's got to get back
in time, back to nineteen eightyfive. And so they didn't know for

(49:43):
a long time that they were goingto end at one on this number.
Well how could they not, Likethere's so much going on. Some of
the ensemble characters have like three costumechanges in that number, Like they during
the thing that you know, theset real Taste, they run off,
get change, come back. They'rea different character now they're a teacher instead
of a pupil, or a cheerleader, or you know, all of this

(50:05):
stuff's going on. Yeah, youget to see like the dinner room,
the or the lunch room, thegym, the French classroom. Like it's
just wild and there's some great likelittle tricks and illusions in there that they
use a great fight coordination. Likeyou see they do their like fight call

(50:27):
every day, like in the rehearsalswhenever they do an Instagram takeover, you
see them they're stepping through those moves. They got to get them all right.
And there's some really nice little momentsin there that it's easy to miss,
so on and repeat viewing, likeif you look at the end,
like just before the curtain comes down, like Lorraine's singing, she puts her
handback and she touches George's chest,and George is like, she's touched me.

(50:50):
And his face is like he's overthe moon and he's so excited because
Lorraine's finally touched him. So there'sso much your eyes don't know where to
look, like watch the lady,She's hilarious. The Yeah, it's brilliant.
It's a brilliant number. You know, two things that just popped in
my head that you made me thinkof first and twenty first century to go
back to that for a moment,the slight trickery and the sleight of hand

(51:15):
of you see Doc, you know, leaving with this cast of people,
and then next thing you know,he's right there on the couch. It
was a great moment, one ofthose things that I'm like, God,
they got me. And then theactor and y'all can remind me his name?
Who plays George right now? OnWhat is it? Hugh Coles steals

(51:36):
the show? Wow? Does henail? Wow? Does he nail?
George McFly does he ever just nailthe voice the manner hysms but also adds
his own element to George that Crispindidn't do in the original or Jeffrey Wiseman
and subsequent sequels. Oh Man,does he nail his George McFly And especially

(51:58):
in that scene where you're talking aboutTony, there's so much interplay. Now
I want to fast forward a littlebit. I want to go to we're
at the enchantment under the Sea danceagain. There are small differences when Biff
takes Marty out of the car whenhe's in there with Lorraine and they put
him in the trash can and lockedthe dumpster as opposed to the car.

(52:22):
Understandable. It's more of a ofa means to an end thing than a
change to the story. It's justlike, let's not bring a big car
and have him slice his hand anddo all this. We'll put him in
a trash can. I enjoyed thatelement of it. And also when we
get to the DeLorean and Marty gettingready to go back to the future and

(52:45):
we see the clock tower scene ofDoc going up the clock tower and then
standing on the ledge and singing thisone's for the Dreamers again having that reprise
in the musical, which I thoughtwas a really beautiful number to have at
that moment, but just the productionelement, like I know, it's a
little comical of him going up thestairs the way that they do it,

(53:06):
but you know it's still it's anice little sight gag and then him standing
on the ledge. Like you feltthe power of that moment, right,
Telly, Yeah, absolutely, Yeah, that going up the stairs is a
hilarious moment. Roger hands it upreally well. Again, that's a moment
I think it loses some people.You know, this is a fun production.
It's not meant to be a seriousplay. The serious elements and serious

(53:29):
moments to it, but it's you'relaughing with them. You're not laughing at
it. It's not done pathetically.It's done so well. But otherwise it's
like, well, how did notget up there? I mean it's a
in the movie, it's a mystery, like how does he get from outside
the clocktail up to the top?Well, no, you know, he
like runs up the stairs. ButI think, yeah, that the mixture

(53:52):
of the automated set, the realset, the big clock that's lit upright,
that's life size, the two bigcats that you're all familiar with,
and you see the whole clock towercome on stage and it's a mixture of
projection and real sets and it's seamlessand it moves in time with the music
and you believe that Docy I stilllike like twitch a little bit when a

(54:16):
bit of the clock tower falls awaybecause you believe that he's up there and
he's on that ledge and he's fallingoff, and you know, we're just
holding onto the clock. No,when they did this whole scene originally in
Manchester, the whole thing was muchmuch, much much longer, so they
were I think at one point theyeven have the clock tower and the car

(54:37):
on the stage at the same timeand you see one on the other,
and they were really refining that throughthat preview process in Manchester. And now
it's like and to be honest,I think it did feel like a lot's
happening, but you're not making muchprogress, whereas now it's like action action,
action action, and there's practical thingsthey have to do to change between

(55:00):
the car like driving and the clocktower scene. But now it's perfectly cut.
It's just brilliant and yeah, bringingfor the dreamers in again for doctors
seeing that and then the overture thescore underneath it. Yeah, what is
amazing and it's a beautiful moment.Now again, there's a couple more things

(55:22):
I want to cover. Now,Eric, he gets back to nineteen eighty
five. Okay, we see himget back to the future, and Red
is there as we know him,the homeless man. Red is on the
bench or the bomb or whatever youwant to call him. But this is

(55:43):
a big difference, you know,whereas in the movie we see Marty return
to Line of States, which dowe get a line of states in here
at all? Is there ever anyreference to line of States or the signage?
I don't think so. I can'tthink of any Tony, can you?

(56:04):
I want to say, do wesee a flash of they might be
on one of the benches, youknow, yeah, maybe something subtle,
but I don't think they've they mentionedanything or is definitely on one of the
benches. And they mentioned hild Allday. Of course. You see the
house. You see the set beforethey do hello, is anyone home?
You see the classic Martin McFly house, the resident in the house. Yeah,

(56:24):
but yeah, I don't know whetherthey mentioned line of States anyway said,
I don't think you see the Youdefinitely don't see that in the two
lines. Yeah, you do seeFox photography, which is a nice little
reference to Michael J. Fox,obviously, And they're they're small things like
I think may have been in thetwenty first century number where you see the
dinosaur. Is that in the twentyfirst century number? At one point you

(56:45):
see a dinosaur. I think that'swhere that was. There's films more Easter
eggs in that scene as well,projected on the butt. Yeah, yeah,
a bunch behind and they're just notall coming to me. But okay,
did you ever expect to see aTartis in the back of the future
universe? I don't wait. Wherewasn't there a tartist in the twenty first
century? Doctor who must there's thetime train for about twoge three, I

(57:07):
saw the time train. I sawthe time train, which was a nice
addition. Now Here at the endin the original movie, obviously, he
goes back to his house and youknow, mom, you're you're thin or
whatever it is, or you know, he sees his mom. She looks
great. Everybody's in a better spot. George has his book get delivered whatever

(57:28):
whatever, in this one, it'scompletely different. This is probably the most
complete change of the of the endis they're not at the house. They're
in front of the clock tower appropriatelyand Eric, it's George McFly day in
Hill Valley and they're presenting him withan award, and and he's also I

(57:49):
think they're accepting or he's up talkingabout his new novel back to the Future
for the Continuing Adventures of Calvin Kleinor whatever, the full time, which
is so appropriate. I love thatthey made that change. But what did
you think, Eric, when youwere watching of this different ending? I
loved it. It's another one ofthose things I wanted to be. I

(58:10):
wanted to be surprised by this.I didn't want them to just put the
same movie up on the stage becausethen you know what's coming. So this
was a welcome change. I lovedthe whole setup. And I think they
really did a great job, justlike they do in the movie, of
showing the change to George McFly andhow he goes from a non confident teenager

(58:40):
to this confident, well kempt manand father and husband, and just showing
what a great person he is.And I also think and maybe I'm thinking
too much into this. I knowthere was a lot of controversy after Back
to the Future one as far asCrispin Glover and how George McFly was handled

(59:01):
and how apparently money made him happyand all that stuff, whereas I feel
like this ending in the musical ismore about not the financial part of it.
I mean, yeah, they doobviously focus on the financials with the
check and all that, but theyjust show him just being an overroeund generally
happy person. And I feel likeit was as far as the stage goes,

(59:24):
it's a very satisfying ending in myopinion. And I don't and Tony
you agree with me or not,but I feel like if they would have
done the original ending from Back tothe Future, it wouldn't have been as
satisfying as this ending, And ifthey would have tried to do this ending
in the movie, it would nothave worked. Yeah, I agree,
Yeah, I think I think Eric'sgot a good point there. They touch

(59:45):
on the money, but it's like, you know, the McFly family are
doing something good with their money givenit to like the Clock Terror Preservation Society.
They you know, they're part ofthe community. It's not about them
just being rich and like buying fourby four for the song, like there's
no mention of the fours I freand so I think they've balanced that out
a little bit. But also itjust wouldn't have worked to like go like

(01:00:07):
arrive at the the town square thenback to twin pans mall and back to
line and state, like you couldn'tdo that many set changes. Now the
book, the novel is hilarious joke. It's a proper in joke for anyone
who knows anything about Back to theFuture and read Boots in the early in
the early shows, it was backto the Future too, so they used

(01:00:30):
to say it's back to the futuretoo, because you're watching Back to the
Future. So it's the sequel that'sbeen written. And I think somewhere I
read or heard it was Alan silvestwho suggested we should make it for and
everyone and was like, yes,like that is a perfect, perfect joke.
So yeah, it works really reallywell. It's great and I do
love that. The two other smallthings I want to bring up before I

(01:00:52):
get to the end end is Ilike how Biff. First of all,
we haven't really talked about if it'stoo much Biff is great in the in
this one, but I like howBiff is the one who's selling George the
peanut brittle as opposed to because inthe movie the peanut Britle scene gets cut

(01:01:13):
from the movie where it's like aneighbor and his daughter selling it. I
like how it's Biff selling it,uh, for his Was it for his
niece or his nephew one of thetwo in the in the movie. I
like that. And then I alsolike how they how they used Hughie as
as we're supposed to know him Hughewhich were assuming it's Huey Lewis, And

(01:01:34):
how it's Jennifer's uncle. Is ither uncle? Right? Yeah? Her
uncle? And then he wants tohear the Pinheads play. Marty is unaware
that he's supposed to play at thisbig event for his dad, and that's
where they finally give you the powerof Love. They tease it earlier in
the show you really wanted it,and then they ended with power of Love,

(01:01:55):
which is just phenomenal by the waythe production of that set piece.
And then probably my favorite moment ofthe play of the musical is when Doc
arrives. We got the Sum's gotto be done. We got to go
back to the future, what haveyou? What have you? And they
get in the DeLorean and I'm I'mlooking at my wife and I'm like,

(01:02:17):
oh, man, I wonder arethey gonna They're not gonna, can they?
Can they? And then that thingrises up and it starts to fly
over the crowd and starts to turnaround and upside down, and you see
them waving and going like, ohmy gosh, what a finish, What
a finish to that show? Right, Eric, Like with that, I
did not expect them to have aflying DeLorean. It was insane, mind

(01:02:44):
boggling. Yes, how how theydo? How they pull that off?
And that's exactly what I was referringto you when I texted you the other
day and said, so what doyou think about that ending? Yeah,
it's all about that DeLorean. Itwas. It was crazy and I still
I mean, I've seen it fortunatelyon Broadway three times. I never got
the opportunity, at least not yetto see it in London, never saw

(01:03:07):
to Manchester. But even on thethird viewing and Broadway so far, I
was still just blown away. Itwas like the first time I just the
fact that they can pull that off, which obviously means they've gone through,
you know, rigorous safety checks andall that to make sure this is fully
safe, and putting that aside andimmersing yourself in the experience just seeing that

(01:03:29):
thing just rise out and just cometowards the crowd and then you know the
turn and everything. It's just Idon't even know how to describe it,
such an incredible feeling, Tony.I mean, how many times have you
seen this? It's like around twentysomething times. I'm not like, by
far, I'm not the right upthere with the most. I don't live

(01:03:49):
that close, but you know,I've seen it enough, but I'll still
keep going. Yeah, And areyou always impressed by that end? Yeah?
Yeah? And I think you knowwhat's great about it is I think
you kind of get tricks near theend because they do Power of Love.
You know, that's like the bigtune that they've not done yet. All
the casts are on stage, likeyou think that's the end. You think

(01:04:11):
it's going to be the curtain call. They're going to just stop it there,
and of course you hear the sonicboons, the Lrian appears again,
and then you know you get thescore underneath, like the same as in
the movie, like and you know, you know what Dot's going to say
is dressed the same way. Youknow the woline that he's going to say,
And you think, but they're notgoing to do the flying bit,

(01:04:33):
right, You think they can't dothat. So then you see it and
it starts to arise and you think, okay, they're going to end it
there. And then it starts tocome out and you think that's it.
They're going to end it there,and then it turns and what so I
think it I mean, I alwayssay there's a huge spoilers in here before
you publish this podcast, but yeah, you know, tons of people,

(01:04:57):
you know, they want to talkabout this, and I surprised you didn't.
I was surprised both of you didn'tknow that this would happen in the
show when you go and watch itfor the first time. We've tried to
really make sure that even in thespoilers group, we don't really talk about
it, but so many people.I think it's confusing as well, because
you are allowed to take photos andvideos of the bows and the back in

(01:05:18):
time. Yeah, yeah, thephone call, and I think people think
Power of Love is the end andsome people start to get their phones out
and things, and so you knowthere are there are people who will take
photos and put that they want toThey don't want to spoil if people,
but they got want to like sharelike this moment that they've just experienced.

(01:05:41):
They stick it online and that ruinsit for everyone. It's like the backs
of the Future groups on Facebook,Like you've got to try and get it
off that because otherwise it does takethe edge off a little bit if you
know that's going to happen. Soyeah, I think it's a bit of
a battle. But you know,some you hear like people talking, you
know, the car and hope thatthe car is and it is all the

(01:06:01):
way through. But that end sceneis like that's that's the mind blowing one
that you go away talking about foreveryone who you don't mind sploiling it for.
It was it was the best part. I mean obviously it should be
the most memorable part in it isand that's why. Yeah, Eric texted
me when he knew I saw it. What'd you think of that ending?
Manu? It was sensational. Andagain thank you to to Bob, Gail

(01:06:26):
and Zameta and anybody who made thismusical possible. I knows and talks for
a long time, and I'm sothankful that they were able to find a
way to continue our love for thisfranchise and create new fans of this franchise.
It was just a beautiful, beautifulmusical. Like I said a minute
ago, reaffirmed my love for somethingthat I've spent endless hours talking about,

(01:06:53):
watching, thinking about writing about.And I appreciate you Eric and Tony for
taking the time to just kind oflet me unload and decompress over it because
I saw it now a week agoat the time that we're doing this exactly
a week ago, and I'm stillhaven't come down from the high. It
is Back to the Future of theMusical, and I've been listening to the

(01:07:15):
soundtrack and it's just incredible. ButTony, I'll let people know if they
want to hear more from you,how can they find you and what everything
you're doing musical wide. Yeah,sure, I mean, it's that urge
to talk about that made me setup the Facebook group in the first place.
When I first watched it, Iwent home, I set up a
group called Back to the Future ofthe Musical Spoilers. Later we change the

(01:07:36):
name, so it's now back tothe Future of the Musical Fans. We
do have a separate Broadway page whichis Back to the Future Broadway Fans,
So we have two separate groups,so you can talk about the West End
or Broadway in either of those.You can follow us on social media BTTF
Bway dot Fans or BTTF Musical dotFans, depending which production you want to

(01:07:57):
follow. We're on YouTube search forsyou'll find where we are. BTTF Musical
dot Funds is the website, andEric again COLLECTBTTF dot com and in people
at where are your Social Handles?COLLECTBTTF dot Com is where you can find
everything, basically an online historical databaseof your digital time machine for Back to

(01:08:18):
the Future collectibles, including all ofthe things that have been released so far
and in the future from the musical. Have a few musical things I'll be
putting up there that are new thatare going to be on the page soon.
And as far as socials, youcan find me at collect BTTF on
most major social networks. I appreciateyou all so much for taking the time

(01:08:39):
to sit here and chop it outwith anytime. We'll Sarve, thank you
so much. Brad the puking,bunking back