Latest news with #BacktotheFuture:TheMusical
Metro
3 days ago
- Entertainment
- Metro
Amber Davies blasts West End audience member for 'distracting everyone on stage'
Amber Davies has called out a woman who was filming her West End show (Pictures: Getty/Amber Davies, Instagram) Amber Davies has slammed a 'selfish' audience member who was filming her West End performance. Since winning the third season of Love Island in 2017, Amber has carved out a career in musical theatre. In the past few years, she's appeared in 9 to 5: The Musical, Bring It On: The Musical, Back to the Future: The Musical and Pretty Woman. The 28-year-old is also currently playing Jordan Baker in the West End production of The Great Gatsby at the London Coliseum. However, during a recent performance, Amber called out a woman who had broken a major rule of theatre etiquette and was using her phone during the show. During the interval at last night's show, the actress posted a video on social media slamming what she saw. The actress is currently starring in The Great Gatsby (Picture: Gareth Cattermole/ Getty Images) However her most recent show was 'ruined' when a woman started using her phone (Picture: Dave Benett/ Getty Images) 'This is a PSA. The closer you are to the stage when you're watching a show the more obvious it is when you're filming,' she said. 'This is the entire stalls. If you're filming in the stalls we can see you! From someone who's on stage, I just wanna tell you a little bit about what we see. So, we see like a dark canvas and outlines of people's heads. 'If you're filming, the reflection from the lights bounce straight back off your iPhone onto us on stage. So, it is the one thing we can see.' She then singled out the woman who had 'ruined' part of the show for both those on stage and fellow audience members. 'So, to the woman filming New Money tonight – you distracted absolutely everybody on that stage. 'And not only that, it takes us out of the Gatsby world because you're filming and you've basically ruined that moment for everybody else who was watching the show tonight. Amber has carved out a career as a West End star since winning Love Island in 2017 (Picture: ITV/ Rex/ Shutterstock) 'Please don't be selfish. Stop filming shows. If someone is filming during a show know that this is the consequences that it has to the people on stage and tell them to stop because honestly it's annoying.' She added: 'Also, I single-handedly will count how many seats back you are and tell our stage manager where you're sitting and what colour hair you've got, and trust me, in the interval they will come and ask you to delete the footage, so you've basically done it for nothing. Okay, I'm gonna enjoy act two now.' The Great Gatsby, based on F. Scott Fitzerald's beloved 1925 novel, is running on the West End until September 7. The rest of the main cast includes Jamie Muscato as Jay Gatsby, Frances Mayli McCann as Daisy Buchanan and Corbin Bleu as Nick Carraway. Got a story? If you've got a celebrity story, video or pictures get in touch with the entertainment team by emailing us celebtips@ calling 020 3615 2145 or by visiting our Submit Stuff page – we'd love to hear from you.
Toronto Star
24-07-2025
- Entertainment
- Toronto Star
You can't have a ‘Back to the Future' stage musical without the DeLorean. But ‘how is it going to fly?'
When the curtain goes up on 'Back to the Future: The Musical' this week, audiences will expect to see certain things from the classic 1985 film they know and love so well. One is Marty McFly's signature puffy red vest and skateboard. Another is Doc Brown, with his shock of white hair, exclaiming 'Great Scott!' And what would an adaptation be without hearing a couple of those classic Huey Lewis rock songs?
New York Post
21-07-2025
- New York Post
World's largest cruise ship heads to Florida ahead of August maiden voyage
The largest cruise ship in the world that's anticipated to become the crown jewel of Royal Caribbean's sprawling fleet will be docking in Florida before it departs on its first-ever voyage in late August. The 'Star of the Seas' ship, complete with 20 decks and a mind-boggling capacity for 5,000 passengers, set sail from its construction port in Finland on Thursday and is set to arrive at Florida's Port Canaveral on Aug. 15, according to its website. 3 Royal Caribbean's 'Star of the Seas' will embark on its maiden voyage on Aug. 31. Royal Caribbean Advertisement The ship is set to embark on its maiden voyage on Aug. 31. In the meantime, staff at Port Canaveral are battening down the hatches as they prepare for the thousands of tourists it will attract. After departing from the Orlando dock, the ship will make stops in the eastern and western ends of the Caribbean, including San Juan, St. Kitts, Cozumel and access to Royal Caribbean's private island in the Bahamas. 3 The luxury cruise will dock in Florida. Royal Caribbean Advertisement Such luxury comes at a hefty price, though. The cheapest ticket starts at $951 per person. The experience boasts a laundry list of activities free of extra charge, including access to the largest waterpark at sea and even a taste of Broadway through rotating performances of 'Back to the Future: The Musical,' according to its website. 3 The tickets come at a hefty cost. Royal Caribbean For the last 22 years, Royal Caribbean has been voted Best Overall by Travel Weekly readers.
Boston Globe
10-07-2025
- Entertainment
- Boston Globe
A ‘Back to the Future' that reminds you of the past
Wherever that DeLorean took me, it would surely be a better time and place. But the universe had other plans, so here are a few thoughts: Advertisement 'Back to the Future' is a throwback in more than one sense. It can no longer be assumed that a stage musical drawn from a nonmusical hit movie will be dreck. The 2017 Broadway musical adaptation of 'Groundhog Day' was pretty good. The 2019 Broadway musical adaptation of very good. The musical adaptation of ' But 'Back to the Future: The Musical' reminds you why journeys from screen to stage are often a bad idea, destined to land with a splat: Because they are driven, so to speak, by the imperatives of the box office rather than any kind of artistic inspiration or aspiration. Advertisement The best adaptations have something to say. 'Back to the Future' doesn't have much more to say than: Give us your money. While there are some changes from the movie, a chief problem with this touring production is that That narrows the interpretive range any of the performers can traverse. While the cast is certainly game, their struggles to make something fresh out of something so pre-fabricated, such an industrial product, are evident. Lucas Hallauer, who physically resembles the younger Fox, plays restless teenager Marty McFly. Marty is rightly embarrassed by his parents, the ultra-wimpy George (Mike Bindeman, seemingly trying to out-geek Crispin Glover) and slovenly Lorraine (Zan Berube). It's 1985, fully three decades after high school, but George is still being pushed around by Biff (Nathaniel Hackmann), the hulking, none-too-bright fellow who bullied George back then and still has designs on Lorraine. Within that stifling environment, Marty is understandably eager for adventure. An opportunity for that presents itself when nuclear physicist/mad scientist Doc Brown (David Josefberg) enlists him to help in an attempt to travel through time in the aforementioned DeLorean. ( But when Doc experiences radiation poisoning while handling plutonium, Marty tries to go for help in the DeLorean, then accidentally stomps on the accelerator too hard and ends up back in 1955. There he encounters his father, George, and his mother, Lorraine, both of them teenagers. George is the same hapless nerd, but Lorraine is … different. Advertisement She always told Marty and his siblings that she was prim and proper when she was in high school. Marty discovers that she was neither. Soon he is experiencing the Freudian nightmare of being hit on by his mom. For reasons that have to do with the space-time continuum, Marty's very existence hinges on whether he can get George and Lorraine to fall in love. For Marty to be returned to 1985 – to go back to the future — he and the 1955 version of Doc Brown need to harness the power of a lightning strike on town's clocktower. The nonstop musical and video bombardment in 'Back to the Future' seems designed to pummel the audience into submission and persuade them that their money was well spent. But it comes across as a sign of desperation in the effort to create a live simulacrum of a beloved movie. A joke in which 1955 George is perplexed by Marty's use of the word 'heavy,' which is not funny the first time, is for some reason brought back a second time. There is some Boston-based pandering: a Tom Brady reference, a throwaway line about the 'Green Monstah.' One number features the chorus in top hats and tails, for some reason. It should be noted, however, that the chorus is first-rate, the best thing about this 'Back to the Future.' It's far from the first time that has been true in a production that's arrived in Boston from Broadway. Advertisement In the number that opens Act Two, Doc Brown sings 'I can't wait to be/In the 21st century!' You might want to reconsider that, Doc. BACK TO THE FUTURE: THE MUSICAL Book by Bob Gale. Music and lyrics by Alan Silvestri and Glen Ballard. Directed by John Rando. Choreography, Chris Bailey. Presented by Broadway In Boston. At Citizens Opera House, Boston. Through July 20. Tickets from $40. Don Aucoin can be reached at
Boston Globe
01-07-2025
- Entertainment
- Boston Globe
‘Back to the Future' celebrates 40 years, and a musical reworking
Luke Antony Neville, left, and Lucas Hallauer, right, in "Back to the Future." McLeod9 Creative Advertisement However, as they met with potential producers, they faced skepticism. 'We thought, 'This is going to be easy! Everybody and their uncle ought to be lining up to do this,'' Gale says. 'But it wasn't like that. They'd always say, 'Well, you guys have never done musical theater before. What makes you think you can do it?' And we'd say, 'Well, we invented the franchise! We know a whole lot about these characters and the story.'' Advertisement After a long-and-winding development path, 'Back to the Future: The Musical' finally bowed in Manchester, England, in 2020 before opening in London the following year, where it won the Olivier Award for Best Musical. Broadway beckoned in 2023, and now its national tour speeds into the Citizens Opera House, July 8-20, presented by Broadway in Boston, on the heels of the film's 40th anniversary on July 3. But as with the paradox that Marty unleashes by time-traveling back to 1955 and nearly screwing up his parents' courtship, the musical headed to Boston would've been erased from existence if not for a few 'sliding doors' moments. It all started with a storm that flooded screenwriter Bob Gale's childhood home in St. Louis. While helping his parents clean out the basement, he found his father's high school yearbook and saw his picture as senior class president. 'I thought about the president of my class, who was one of these rah-rah school spirit guys who I would've had nothing to do with,' Gale recalls. 'And I wondered, 'Was my dad that kind of guy? Would I have been friends with my dad if I'd gone to high school with him?'' As he stared at the photo, a lightning-bolt thought struck him: What if I could go back and meet my father back then? That sparked the idea for a film about a teenager who gets accidentally whisked back in time, encounters his parents as high schoolers, and tries to ensure they fall in love with each other so he doesn't get deleted from history. As Gale and Zemeckis began developing the musical, they enlisted the film's composer Alan Silvestri and Grammy-winning songwriter Glen Ballard to write the score, with influences from both 1980s and 1950s rock. But the road was strewn with potholes. By 2014, they'd parted ways with visionary theater auteur Jamie Lloyd, who just won a Tony Award for his reimagining of 'Sunset Boulevard' ('He had some wacky ideas,' Gale says), and hired Tony-winning ' Advertisement It was important to them to strike a balance between honoring the original film while creating something new for a different genre. 'One of the things that we were very resolute about was that we did not want this stage production to be a carbon copy of the movie,' Gale says. Many of the movie's famous lines and classic moments remain, but other aspects were altered or excised. So you'll see the DeLorean fly and Doc declare, 'Roads? Where we're going, we don't need roads.' Lorraine ( With a musical, though, you can crack open the characters' hearts and inner-lives in song. Silvestri and Ballard wrote a heartfelt second act number for Doc Brown (David Josefsberg), 'For the Dreamers,' where he sings about creative visionaries, both the famous and the failed, who have big ideas and 'never stop believing in them.' 'Musical theater gave us a way to really go deep into Doc Brown's head,' Gale says. 'And because Doc Brown sings, he automatically becomes a warmer character.' Advertisement They wrote a 1950s-style doo-wop number, 'Pretty Baby,' for Marty's mother Lorraine to sing in the 1955 timeline to the handsome young stranger asleep in her bed, as Marty nervously fends off her advances. 'Musical theater can take the reality of a situation and put it into a heightened, kind of twisted place,' Rando said. For Marty's meek father, George (Mike Bindeman), who's bossed around by his high school bully, Biff (Nathaniel Hackmann), where 'we learn about him and how he wants the girl, but he's afraid to go after her,' Gale says. Then in 'Put Your Mind To It,' Marty tries to boost George's self-confidence so he can win Lorraine's heart by 'teaching him to dance and to stand up for himself and fight for what he wants.' Ultimately, the father-son dynamic is key. 'The boy learns about his parents in a way that he had never dreamed of and finds himself closer to his family at the end,' Rando says. Naturally, the car is the 1.21 gigawatt star. So the team needed to create the illusion that the flux-capacitor-powered DeLorean speeds across the stage at 88 miles per hour, travels through time and later achieves liftoff. That meant leaning into the innovative magic of Tim Hatley's scenic design, Finn Ross' video design, and Chris Fisher's theatrical illusions. 'It's really spectacular,' Gale says. 'I think we raised the bar on what you could do on stage.' Of course, they worried about disappointing fans with a stage version that didn't live up to the film. But Gale says that most fans he's encountered have adored the show, including one woman in London who told him she quit therapy and instead spent that money on tickets to see 'Back to the Future' every week—and she's happier for it. Advertisement Gale speculates that the story continues to resonate 40 years later because it captures the moment in every child's life when 'they suddenly understand that my parents were once young like me. That's a cosmic idea.' It also powerfully illustrates how one decision in life can have far-reaching effects. 'We see these two different timelines for the McFly family—one where George stands up for himself, and one is where George wimps out. So it's a good reminder to people to say, 'The things that I do in my life matter. This may be an important decision I'm making, and I need to give it thought.' BACK TO THE FUTURE Presented by Broadway in Boston. At: Citizens Opera House, July 8-20. Tickets: from $40;
