David Benedict In recent decades, numerous musical have arrived in London with outsized production values swamping the material, leading critics to wish for time machines so that they can fast-forward to the inevitable, hugely scaled-down revival in an off-West End house where the writing can be savored. “Back To The Future — the Musical” is not one of those shows.
Despite its many flaws, not least a merely serviceable score, Tim Hatley’s stunning, multi-dimensional design — thrillingly meshing physical production, lighting, projection, sound and hydraulics — lifts what threatened to be a movie retread into a live entertainment triumph.What you need to know is that Einstein doesn’t exist.
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