Back to the Future

A Theatrical Time Machine at the Washington Pavilion, Sioux Falls, SD, USA

Theatre season is back in full force at the Washington Pavilion, and Broadway has never felt more local. Opening night of the six-show lineup transported Sioux Falls audiences straight to 1985 with Back to the Future: The Musical — a production that defied skepticism and delivered one of the most technically dazzling performances the Pavilion has ever hosted.

This time, I wasn’t alone. Normally I attend these shows solo, season tickets purchased a year in advance before I even know what I’m in for. But sharing this one with a friend felt apt — after all, Back to the Future is a story about connection across time.

The musical, adapted from the 1985 film Back to the Future starring a young Michael J. Fox and Christopher Lloyd, had every reason to crash and burn. Movie-to-musical adaptations can go either way — Pretty Woman and Mean Girls soared, while Legally Blonde fell short of expectations. With no inherent “musical DNA” in its source material, I braced for impact.

Then came a sign: a physical playbill. I’ll die on this hill — digital playbills are the bane of live theatre. There’s something about holding the paper, flipping through the cast list as the orchestra warms up, that grounds the experience. The Pavilion only does this about 2% of the time now, and it’s criminal. Anyway, rant over.

The first two songs, led by Marty McFly (Lucas Hallauer), started slow — so slow that a flicker of dread crept in. But as the second number ended, the Delorean rolled onto stage from nowhere, and everything changed. Enter Doc Brown (David Josefsberg), wild-eyed and electric. The chemistry between him and Hallauer was pure “Rick and Morty energy” — whether by design or coincidence, it worked.

And yet, it was George and Lorraine McFly (Mike Bindeman and Zan Berube) who stole the show. Their performances brought genuine heart to the absurdity, especially in Pretty Baby, where Lorraine serenades a mortified Marty in his purple Calvin Kleins. The first act’s finale, Something About That Boy, hit all the right nostalgic nerves — campy, kinetic, and deeply fun.

Technically, the production is a revelation. The use of spinning video screens synchronized with a rotating Hamilton-style stage created seamless transitions and visual depth. It was, quite literally, cinematic theatre — where digital and physical sets danced together in a way I’ve never seen. The Delorean didn’t just appear; it moved, flew, and somehow felt alive. I usually get goosebumps from the vocals, but this time, it was the stagecraft that left me buzzing.

Even intermission had flair: a retro radio broadcast complete with a faux DJ spinning oldies hits. The night closed on a wink to the diehards — a glowing message across the video wall: “Make like a tree, and get outta here.”

When the curtain fell, I realized something rare — I’d just witnessed a show that transcended its premise. What began as cautious curiosity became full-blown delight. Back to the Future: The Musical isn’t just nostalgia repackaged; it’s a love letter to ingenuity, a masterclass in adaptation, and, without question, a top-five musical experience of my life.

If you ever get the chance, don’t think twice — GO.