Harry Potter vs. Back to the Future: Even though the New York City theater area is bright, two kind of magic are keeping people intrigued. The Winter Garden Theatre is performing a different kind of magic on 43rd Street, where “Harry Potter and the Cursed Child,” J.K. Rowling’s exciting sequel, contains enchanted phone booths and fireballs. ”
Through this magic trick, the souped-up sports automobile streaks, somersaults, and soars over the crowd. Forecasts and advanced stagecraft steer this transformation. It’s a bold production that shocks even jaded New York theatergoers and erases the negative reputation of theme park shows like “The Phantom of the Opera” and “Miss Saigon.”
Enchantments and features vary in brightness. “Back to the Future,” which premiered on Thursday, stays true to the original film but loses some of its enchantment. Movie and show share a plot. Bob Gale, the film’s original writer, and Tony Award-winning director John Rando (“Urinetown”) directed it. Doc Brown (Roger Bart) convinces Marty
McFly (Casey Likes) into travelling back in time to 1955.
Marty meets earlier versions of his parents, like the quiet George (Hugh Coles) and the flirtatious Lorraine (Liana Hunt), who casts a spell on her own son to make him want her. Marty struggles to encourage George and Lorraine to fall in love again so he can go back to 1985.
This ingenious idea still makes people chuckle over 40 years later. The actors capture the original movie’s clumsiness and charm. Cole’s funniest role is George McFly. Cole becomes a contortionist George after playing Crispin Glover’s challenging role. He laughs like music and moves like a young horse. His transformation from social misfit to awkward hero smells sincere, and his meetings with Likes’ Marty strengthened it.
After starring in “Almost Famous,” Likes is back on stage as the biggest star. The lovely 21-year-old actor gives Marty a strong voice. The musical climax comes when Likes mixes “The Power of Love” and “Back in Time,” two Huey Lewis songs. This ends a blissful sonic explosion.
However, Bart’s Doc Brown performance is a flop, even though the lines are sometimes funny because they are recalled. His tunes don’t make you feel anything, and his scientist character often borders on parody. Alan Silvestri and Glen Ballard improve these musical interludes by using historical sayings about predetermined results and loneliness. “Cake,” a 1950s-themed satire, and “Pretty Baby,” a witty doo-wop duet by Hunt and Likes, stand out.
“Back to the Future: The Musical” is technically brilliant. It celebrates melancholy and nostalgia. “Your kids are going to love it,” Marty McFly famously said. The amazing show has soulless songs and practical songs. When played simultaneously, these musical elements may make you feel like time is passing, like an afterglow against
dramatic wonder.
Broadway’s magnificent battleground hosts a fascinating performance battle. “Harry Potter and the Cursed Child” creates its own enchantment, and “Back to the Future: The Musical” reimagines a classic.
READ MORE: Lollapalooza 2023: Your Ultimate Guide to Virtual Music Experience on Hulu