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Purpose on Broadway - NYC [38461]

Purpose on Broadway

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The Hayes Theater, established in 1912 and located in the heart of New York City, is a notable venue for Broadway productions. Known formerly as the Little Theatre, the Helen Hayes Theatre was renamed in 1983 in honor of the acclaimed actress. Since its renovation in 2017, the Hayes has become one of the most technologically advanced, intimate Broadway houses. Its seating capacity of 597 hasn't affected the quality and charm of performances held there. Known for presenting some of the most innovative works of contemporary playwrights, it continues to attract theatre buffs from around the world. 

 ## How to Get There 

The Hayes Theater is situated at 240 West 44th Street, between 7th and 8th avenue. For those taking the subway, the Times Square-42nd Street station served by N, Q, R, S, W, 1, 2, 3, and 7 trains is the closest stop. If you prefer a taxi or a ride-sharing service, simply set your destination to the theater's address. There are also numerous parking facilities within a few blocks where you can leave your car if you're driving.

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Hayes Theater

Hayes Theater, an intimate Broadway venue in NYC, presents innovative contemporary plays. It's accessible via subway, taxi, and has nearby parking facilities.

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Ages 6+. Children under 4 are not permitted.

Back to the Future on Broadway - NYC [26018]

Back to the Future on Broadway

Back to the Future on Broadway - NYC Product Media

If IMAX had taken off by 1985, [*Back to the Future*](https://www.newyorktheatreguide.com/show/26018-back-to-the-future-tickets) would have been its year's *Oppenheimer*: the kind of epic film you *must* see in IMAX, or at least on the biggest screen you can find. The iconic flying DeLorean, piloted across space-time by teenager Marty McFly and scientist Doc Brown, deserves nothing less. Ditto for the stakes of the plot. Unwittingly becoming one of humanity’s first time travelers and nearly wiping out your own existence by meddling in your parents’ meet-cute is, to quote Doc, “some serious shit.”

That's a lot for one teenager like Marty to handle — not to mention the ultimate terror of capturing his unknowing high-school-aged mother’s affections. And yet, *Back to the Future* emerges, and continues to be regarded, as a funny, cult-classic romp. The musical adaptation, now on Broadway with 1.21 gigawatts of spectacle, honors all these views at once and gives *Back to the Future* the larger-than-life presentation it deserves.

The design, naturally, does a lot of the heavy lifting. Walking into the [Winter Garden Theatre](https://www.newyorktheatreguide.com/theatres/winter-garden-theatre) feels like walking into a *Back to the Future* augmented-reality theme park attraction: A network of LEDs outfits the proscenium, the railings of the box seats, and even the ceiling. The design feels immersive, aided by Finn Ross's videos that, at one point, even put audiences into Marty's point of view as he rockets from 1985 to 1955.

That's not to mention the rest of Hatley's meticulously detailed sets and vibrant period costumes, Tim Lutkin and Hugh Vanstone's hyperactive lighting (which, along with smoke effects, aid Chris Fisher's sci-fi illusions), and Gareth Owen's heart-thumping sound. Together with director John Rando's staging and Chris Bailey's athletic choreography that works the large ensemble for all it's got, the whole production is clearly eager, desperate even, to thrill you at every second. But to again quote Doc (and the title of his triumphant entrance song), it works.

On the topic of the songs, those mostly work, including timeless film favorites like "The Power of Love" and "Johnny B. Goode." A third of the score could have otherwise been cut. Some are repetitive — not every song needs a reprise, and not every character needs a full-length "I want" number (or multiple) where a line or two of dialogue would suffice. It feels like a retroactive attempt to invest audiences in the characters, who get rather abruptly introduced at the start.

It's an odd paradox, that *Back to the Future* assumes prior familiarity with the film such that the players need little introduction, while positing nearly every character as worthy of substantial exploration. Chalk it up, perhaps, to the fact that two of the movie's creators are involved: Bob Gale adapted the musical's book from his and Robert Zemeckis's screenplay, and Alan Silvestri, who composed the film score, co-wrote the musical's rollicking score with Glen Ballard. They clearly know and adore all their characters, but not all audiences have the same depth of understanding, especially 38 years on from the film's premiere.

But like the DeLorean climbing to the crucial 88 miles per hour, the writers ultimately succeed in building the show's momentum and narrative heft. Once Marty meets his teenaged parents, Lorraine and George, in 1955 and catches Lorraine's eye before George can, he has to course-correct — and gets to know his parents better in the process. *Back to the Future* is really a story about how the young can shape older generations' futures, after all, not just the other way around.

"My Myopia," a song sung by the hapless George as he secretly watches his future wife from a tree, shows Marty his dad's spinelessness began in adolescence. Later, they share a duet, "Put Your Mind to It," in which Marty teaches George how to be a more confident man. The energetic Casey Likes as Marty and Hugh Coles, a rubber-limbed physical comedy master reprising his role from London, as George bring these scenes close to perfect. As Lorraine, Liana Hunt channels a *Grease*-era Olivia Newtown John in dulcet (if incestuous) songs like "Pretty Baby."

It could be easy, amid everything else going on, to minimize Doc, even though he invents time travel in the first place and makes the rest of *Back to the Future* possible. But Christopher Lloyd made the character so indelible on screen that to forget Doc would be a crime. And from his first entrance in a cloud of smoke, Roger Bart, also reprising his role from London, makes the character iconic anew.

Bart milks Doc's triumphant early songs for all they're worth, complete with a leggy ensemble as backup — which only make his poignant Act 2 ballad, "For the Dreamers," strike the heartstrings even more. It's then we learn that, before Marty proved otherwise, Doc spent 30 years worrying he'd fail — and be forgotten in time.

"This one's for the dreamers who were close, but no cigar," Doc laments, Bart utterly sincere. "We don't know who they are."

*Back to the Future* is many in-your-face things — larger-than-life, time-bending, hair-raising — but this small moment reveals the heart amid the spectacle.

[*Back to the Future* is at the Winter Garden Theatre. Get *Back to the Future* tickets on New York Theatre Guide.](https://www.newyorktheatreguide.com/show/26018-back-to-the-future-tickets)

*Photo credit: Casey Likes and the cast of Back to the Future. (Photo by Matthew Murphy and Evan Zimmerman)*

*Correction: A previous version of this article misstated the number of years since the Back to the Future film's premiere. The article has been updated to reflect the correct information.*

'Back to the Future' review — 1.21 gigawatts of fun, heart, and spectacle

Read our four-star review of *Back to the Future* on Broadway, the award-winning musical adaptation of the classic film playing at the Winter Garden Theatre.

The Winter Garden Theatre, located in the heart of Broadway, New York, is a world-renowned theatre venue that has witnessed countless iconic performances. With a seating capacity of over 1,500, the theatre offers an intimate setting for experiencing theatrical spectacles amidst its illustrious historic ambience. The theatre's architectural design, exuding Edwardian Baroque aesthetics, boasts a stage large enough for grandest of productions. Since its inception in 1911, the Winter Garden Theatre has seen legendary showbiz figures gracing its stage and corridors, from Al Jolson to Catherine Zeta-Jones. The Theatre's repertoire spans both timeless classics and contemporary hits, fostering an eclectic mix that caters to varied tastes of its audiences. 

**How to Get to the Venue:** The Winter Garden Theatre is easily accessible via numerous modes. For those opting for subway, the closest stops are 49th Street at 7th Avenue, Times Square 42nd Street/Port Authority Bus Terminal, and 50th Street at Broadway. Buses M7, M20, M104 all stop near the theatre. If you’re driving, several public parking lots are available in the vicinity, including Icon Parking and Central Parking. More detailed directions and information can be found on the theatre’s website.

Winter Garden Theatre - NYC

Winter Garden Theatre

The Winter Garden Theatre is a historic and iconic Broadway venue in New York, known for both classic and contemporary performances.

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The Notebook: The Musical on Broadway - NYC [33744]

The Notebook: The Musical on Broadway

The Notebook: The Musical on Broadway - NYC Product Media 

The **Gerald Schoenfeld Theatre** is a celebrated Broadway theatre venue located in the heart of New York City, offering guests an immersion into the world of shows and performances. The theatre was built in 1917 and was initially known as the Plymouth Theatre. It was later renamed to honor the late Gerald Schoenfeld, a Broadway producer who significantly contributed to the world of arts. The architect was Herbert J. Krapp, who designed the theatre in a neo-classical style giving it an ambiance reminiscent of the golden era of theatre. It has a history of hosting numerous Tony Award-winning productions and enchanting audiences with its magnificent interior, comfortable seating, and top-notch acoustic technology. It can accommodate up to 1,080 guests. Beyond its artistic significance, the theatre is also central, located in close proximity to restaurants, shops, and the buzzing NYC nightlife.

**_How to get there:_** The Gerald Schoenfeld Theatre is situated at 236 W 45th St, right in the Theatre District. You can conveniently get there with a myriad of city transportation options, including subway (N,Q,R,W, 1,2,3,7), bus (M104, M42, M6, M10), taxi, or even walking if you reside nearby.

Gerald Schoenfeld Theatre - NY

Gerald Schoenfeld Theatre 

The Gerald Schoenfeld Theatre is a historic Broadway theatre venue in New York, known for its spectacular productions and convenient location.

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Ages 12+. Children under 5 are not permitted in the theatre.

Death Becomes Her on Broadway - NYC [34895]

Death Becomes Her on Broadway

Death Becomes Her on Broadway - NYC [34895] 

**Lunt-Fontanne Theatre** is one of the most prestigious theatrical venues in New York. Located at 205 West 46th Street in the heart of Manhattan, it's a place where countless iconic performances took place. Opened originally as the Globe Theatre in 1910, it was renamed in honor of Alfred Lunt and Lynn Fontanne in 1958. The theatre, with its eye-catching architecture and rich history, has a seating capacity of nearly 1,500. Being a centenarian venue, it has been through several renovations, but each time it retained its look of classical elegance. Many notable Broadway productions have played at the theatre, predominantly musicals. Impressive frescoes, luxurious red seats, mesmerizing ambient lighting, coupled with state of the art audio-visual elements, create an unforgettable experience. With each performance, audiences are enveloped in an atmosphere of grandeur and majesty, a testament to the theatre's legendary status.

**Getting to Lunt-Fontanne Theatre**: Conveniently situated in Manhattan, the theatre is easily accessible by mass transit. One recommended way is by subway; guests can take the N, Q, R, W, J or Z trains to 42nd Street, Times Square. From that point, it's just a short walk to reach the venue.

Lunt-Fontanne Theatre - NY

Lunt-Fontanne Theatre

The Lunt-Fontanne Theatre, located at 205 West 46th Street in Manhattan, is a historic Broadway theatre venue with a seating capacity of nearly 1,500.

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