The Australian premiere of Back To The Future: The Musical was nothing short of a time-travelling triumph! The dazzling stage extravaganza, adapted from the beloved ’80s film, has easily been one of the most anticipated theatrical events of the year.
As someone who grew up with the films, I’ll admit I arrived with a healthy dose of hesitation. Could any stage version ever match the magic of the original? To my surprise, this production not only lived up to expectations but surpassed them, staking its claim as the best musical I’ve seen this year.
Fans of the film can rest easy: the creative team behind this production have remained faithful to everything that made the original so iconic. And for the rare few experiencing the story for the first time, it’s impossible not to be swept up in the adventure.
Set in 1985, the story follows teenager Marty McFly, who is accidentally sent back to 1955 in a time-travelling DeLorean built by his eccentric scientist friend Doc Brown. Stranded in the past, Marty must make sure his teenage parents fall in love or risk erasing his own existence, while finding a way back to the future.
Back To The Future: The Musical first opened in the UK in February 2020 at the Manchester Opera House, only to shut down a month later when the world went dark. It returned triumphantly in August 2021 at London’s Adelphi Theatre, where it’s still playing.
After winning the Olivier Award for Best New Musical, the show made the leap to Broadway, opening in August 2023. Following an 18-month run, it launched a US national tour that’s now into its second year.
The production has since gone global, with a Japanese-language version premiering in April, followed by a staging aboard the world’s largest cruise ship, Royal Caribbean’s Star of the Seas, in September. And the journey doesn’t stop there. In March 2026, a German-language production will open in Hamburg.
The Australian premiere marks the fifth concurrent global production, taking its place at Sydney’s Lyric Theatre.
As Doc Brown, it’s a thrill to see Roger Bart in Australia. Having originated the role on the West End and later taken it to Broadway, he has now performed it over a thousand times. That experience shows. His ease, joy, and sheer playfulness in the role are irresistible. Bart cheekily works the crowd, landing every laugh while still grounding the character’s eccentricity.
His standout songs include the Act Two opener 21st Century, which is a dazzling burst of joy and spectacle. But it’s For The Dreamers that moves most; a tender, resonant number delivered with a voice that feels almost transcendent.
As Marty McFly, Axel Duffy steps into some of the biggest shoes in pop culture. He wins over the crowd with a voice uncannily close to Michael J. Fox’s; it’s almost spooky. That clever touch immediately bridges the gap between screen and stage. Duffy builds on it with a performance full of goofy charm, comic timing, and infectious energy.
Duffy has the honour of performing some of the film’s most treasured songs, including Huey Lewis and The News’ The Power of Love and Back In Time (with the cast after the bows), plus Johnny B. Goode.
The other song retained from the film is Earth Angel, which is played at the Enchantment Under The Sea dance, when Marty’s parents, George and Lorraine, kiss for the first time and fall in love.
It’s worth noting that the score was composed by the original film’s composer, Alan Silvestri, alongside Glen Ballard (Ghost the Musical). The iconic time-travelling music has thus been retained, as heard in the number, Don’t Drive 88.
The new songs pay loving homage to many of the film’s iconic lines and moments, with titles such as Future Boy, Put Your Mind To It, and Hello, Is Anybody Home? Musical Director Daniel Griffin leads the team of nine live musicians, who are powered by eight computers to bring the music to life!
As Marty’s parents, George and Lorraine, Ethan Jones and Ashleigh Rubenach are simply adorable. Jones masters George’s breathy lisp, gangly gait, and nerdish laugh, while Rubenach embodies the wry ‘50s it-girl smitten with “Calvin Klein.” Their first kiss at the dance still brings chills; the moment as magical as ever.
Thomas McGuane gives us everything we love to hate about Biff. He masters each incarnation with wicked charm, from the blustering bully and the clueless ‘50s greaser, to the hilariously reformed version in the revised timeline. The musical builds on Biff’s famous way of speaking (or misspeaking), milking the joke for all it’s worth.
While the skateboard chase scene has been eliminated, and Doc’s cause of death has been modified (with the thinking that they wouldn’t work on stage), several characters have been cut. These include Einstein the dog and Uncle ‘Jailbird’ Joey. But honestly, it’s not even noticeable.
Goldie Wilson’s role has been slightly expanded, and with Javon King at the helm, he is an absolute crowd favourite. His showstopping number, Gotta Start Somewhere, complete with a glittering gold broom, is an Act One highlight. King also doubles as Marvin Berry, and it’s his tones that help make Earth Angel so magical.
The ensemble is nothing short of spectacular, attacking Chris Bailey’s high-energy choreography with pizzazz. They light up the stage in numbers like Cake, and gleefully lean into the camp with Future Boy, where their sudden ‘appearances’ behind Doc become a running gag the show knowingly winks at.
It almost feels criminal to relegate the technical and design elements to the end, because they’re nothing short of mind blowing. At times, sitting in the Sydney Lyric felt like being inside a 3D blockbuster.
The DeLorean sequences alone are a theatrical thrill; a fantastic fusion of Tim Hatley’s inventive set design, Finn Ross’ immersive video work, Chris Fisher’s jaw-dropping illusions, Gareth Owen’s cinematic sound design, and the electric lighting by Tim Lutkin and Hugh Vanstone. The climactic clock tower lightning scene is simply incredible and had the entire audience transfixed.
As an aside, I was seated in the second row from the back of the Stalls and still had an excellent view. That’s the beauty of the Sydney Lyric. Even from that distance, I was completely immersed, with a full view of the stage’s visual spectacle.
Last but no means least, special mention must go to the costumes, replicated with such loving authenticity.
It was a thrill to have the original film’s writer, who also wrote the musical’s book, Bob Gale, in town for opening night. He was joined on stage by producer Colin Ingram and director John Rando. It was humbling to learn that the original script was rejected 40 times before finally making it to the screen. Bob’s inspiring words were the perfect way to close out the premiere:
“As you travel through your own odyssey in life, you’re gonna face rejection. Don’t let it get you down. Don’t let people put you down and (don’t) believe what they’re saying. Because nobody knows anything. Believe in your dreams. Nurture your dreams. Work hard to make your dreams come true. Love one another. Make the world a better place. Make the future a better place.”
I only have one question left for Mr Gale. Can you please start working on Back to the Future II: The Musical? Until then, Back To The Future: The Musical is one ride you do not want to miss. It’s 1.21 gigawatts of pure theatrical joy.
Back To The Future: The Musical runs to 25 January 2026 at the Lyric Theatre Sydney. 55 Pirama Road Pyrmont NSW 2009.
Tickets: https://backtothefuturemusical.com.au/tickets/sydney/
Website: https://backtothefuturemusical.com.au/
Socials:https://www.instagram.com/bttfmusicalau/
Photo credits: Daniel Boud
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