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Why is BACK TO THE FUTURE closing? | Thoughts on the changing West End and what's coming next...
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- [00:00]
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- [01:09]
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- [02:00]
Mickey Jo
So I'm realizing in real time as I sit down to film this one that I do not know Back to the Future well enough to come up with a good, witty, cold, open bit to start this. Sometimes things happen. Even time travel can't change. The end of a strong theatrical run is only a matter of time. That feels pessimistic. Ah gee, Biff, why didn't I just lay out the facts? So earlier this evening it was announced that after a very successful, almost five year, award winning run in the West End, Back to the Future, the musical would close at the Adelphi Theatre in April 2026. With the good news for fans of the show being that this would be ahead of a UK and Ireland tour to launch later in the same year. And while we could frame this as just another pit stop in this show's road to timeless success, yes, that was a nod to the DeLorean. We also have to acknowledge the closure of the show on Broadway a couple of years ago, as well as the recent cancellation of the show's planned Australian tour, leaving us with the question, why is Back to the Future coming to a steady halt in the West End? What does this say about the UK theatre industry? And perhaps you are already speculating what might be next for the very coveted Adelphi Theatre? Today I will be bringing you answers. Oh my God. Hey. Welcome back to my theatre themed YouTube channel. My name is Mickey Jo and I am a professional theatre critic here on social media as well as a content creator. If you want to stay up to date with everything that I have to say about theatre news happening worldwide, make sure to subscribe, turn on notifications, follow me on podcast platforms. You know what to do. This introduction has already gone on long enough. We are here to discuss the recently announced closure of Back to the the Musical in the West End after an admitted long amount of time. And if you've watched or listened to conversations like this that I have had previously where we've talked about show closures in the West End, Back to the future's ending is one that I had prophesied for some time now, and for years and years I was very incorrect about that because it has been defying certainly my expectations and has sustained a far longer run than I had anticipated. At one point I think I may have even been speculating it was going to close last January and in fact it's not even going to close next January. It's going to survive a little beyond that, running through April, January being the month when many shows do close. Because December is such a prosperous and successful month financially. So many people go to the theatre around the festive period. It brings much tourism to London and don't I know it. Whereas January is a horrible month. Dreadful month. It's cold, it's still dark, but we're not feeling festive about it anymore and nobody has any money. It is however, a great time of the year if you want to walk briskly down a pavement in the nation's capital. So with the show having lasted an awful lot longer than I gave it credit for at one time, let's talk about what is happening next with Back to the Future. What this means for London, what this means for theatre worldwide as well as if you stay tuned, what might be heading to the Adelphi next. So I think they're going to put the press release out about this tomorrow. It hasn't reached my inbox yet. So I could be reading this from an Instagram post right now, which is going to feel just a little bit less professional than the information that I usually bring you when we do these closing announcements. So bear with me. Lightning Bolt emoji 5 electrifying years Lightning Bolt emoji 2000 performances Lightning Bolt emoji 2.2 million dreamers which are very impressive statistics and roughly I think about four times the length of the Broadway run, because I'm pretty sure that ran for just over or around 500 performances. Let's find that statistic a disparity that I think can be pretty quickly explained by a difference in audience appetites that I have mentioned many, many times. Those kind of very commercial based on a film kind of musical titles tend to do much better certainly the last few years in the West End than they do on Broadway. They tend to be reviewed more negatively on Broad as well, and that affects their box offices. Yes, they had an 18 month engagement at the Winter Garden Theatre in New York, which in normal times wouldn't be anything to sniff at, only it's become virtually impossible for any kind of musical of scale to recoup within that kind of a time frame. But back to the Instagram post. Back to the Future will play its final show at the Adelphi Theatre in London's West End on Sunday 12th of April 2026. If you want to see that final show, that is Sunday 12th April 2026 before it begins a national tour of in October 2026. Hurry. Book your tickets yesterday. Ah, it's a time travel punk. You gotta. You gotta love them. And I dare say tomorrow when this gets announced, perhaps more formally, if indeed it does, then that will be accompanied by statements from the producers who will talk about the show's success in London. That that was the show's first real birthplace after the out of Town production in Manchester. Pre Broadway, pre international productions, it was London that saw Back to the Future the Musical first. It also of course won the Laurence Olivier Award for Best new back in 2022amidst it's worth pointing out a slightly less competitive field in the immediate years following the theatrical shutdown and the COVID 19 pandemic. But in any case, the London production has thus far been the most successful long running version of the show and in the current theatrical Landscape to accomplish half a decade at the Adelphi Theatre at a sizable West End house is really a remarkable achievement. So a certain amount of applause to Back to the Future for doing that. And I think the success of Back to the Future here is a combination of a few different factors, which is the tendency of our audiences to enjoy and sustain those kinds of shows. Pretty Woman is an example I always cite here. When I talk about shows based on films that feel very commercial and did much better in the UK than they did in the US that being said, I was having the same conversation with a Broadway investor recently and I said, you know, even if these shows don't necessarily do that well in New York, my guess is that they probably do quite well on tour. To which they said, yes, yes, they tend to. And it's interesting to note the. I think the West End successes are sort of more dictated by a wider UK audience than New York's are by the wider US population. I say this because it's a lot easier to travel from regional parts of the United Kingdom. It takes you only a couple of hours on a train, comparatively inexpensive, with traveling from the other side of North America to get to New York. And I think, you know, if you could get from almost every part of the United States down to New York within, I don't know, like six hours on a train, that's maybe like the equivalent of £100 or less, I think Broadway would look distinctly different. And that's just the one factor. We also have to consider the huge success of Back to the Future as a franchise and the fact that it's been very closely guarded. There haven't been an enormous number of sequels or spin offs. There's been a little bit of like theme park attraction usage, but really not that much. Unlike with the likes of Star Wars, Indiana Jones, Jurassic park spring to mind, I don't think Back to the Future fans have necessarily had that much of an outlet for their fandom and their appreciation of this thing. Something that they can physically go to in person and dress up as characters and really celebrate. Then there is the third thing. This will bring us neatly towards a conversation about why the show might be beginning to decelerate, as it were, because as theaters were Beginning to reopen Circ 2021, there were a few things I think that audiences really had a demonstrable appetite for. One of those was uplifting, heartwarming stories. There is a certain amount of fondness in the nostalgia of a Back to the Future, but also the kinds of experiences that we Couldn't get on screen. You know, everyone had watched more than enough movies and tv. We'd been streaming everything. We'd been going through all of those streaming services, locked away in our homes. By the time that everyone gets back into a theater, you want to see something remarkable on stage. And I think I may even have been a bit swept away by the wonder of it all when I gave Back to the Future upon its West End opening. I think a five star review here on social media, I'm occasionally asked about reviews that I would later change my mind about and there are some shows that grow on me. Back to the Future, I think objectively is probably a five star piece of theatrical entertainment. As a piece of musical theatre writing, I don't know if I can stand by that. Upon reflection, but the show's announced closing and I'm not here to dunk on them. What I will say is that my hot take about Back to the Future has always been that it deserves to be a stage show. And the best thing about it is the way that they realize these incredible effects on stage. And it's a real milestone in the conversation about how we bring cinema to the stage. And in achieving what they do, they have really, you know, pushed us forward in a very exciting new direction. They do some really impressive things. I will still forever be fascinated about the Jamie Lloyd directed version of Back to the Future that we could have had, but it's moot because we didn't. My hot take though is that it deserves to be a piece of stage entertainment. It never needed to be a musical and could have Marty McFly and his band and even a couple other characters perform diegetic songs. We could have music at the dance. I don't think we need characters to sing their inner thoughts throughout the show because it provides very little, it offers quite little. It's not a particularly strong score. The second act opening in particular, if I was to tell you, I think the likes of perhaps Moulin Rouge has the best second act opening in the West End or on Broadway right now. Back to the Future, while it was running on both sides of the Atlantic, definitely had the worst. And I know it's closing. This is not a time for me to be twisting the knife. But I will never get through a conversation about Back to the Future without pointing out how heinous that Act 2 opening number was. My suggestion is that this never really needed to become a musical, except for the fact that it wouldn't have sold tickets otherwise as some kind of a play without music, because if you were just to put Back to the Future on stage as a piece of theatricalized entertainment, people would theoretically say, oh, well, we have Back to the Future at home. I can watch Back to the Future whenever. But Back to the Future the Musical is distinctly different enough that they can justify a ticket price. Now, the fact that I don't have a driving license may go some of the way towards explaining why we veered a little bit off topic here. But let's talk about why the show is closing in London. And if this was happening after just a couple of years, then I might dare to say perhaps the landscape is shifting, perhaps the broader appetite is changing. Perhaps, you know, the further that we get from those immediate reopening years, the less that spectacle and wow factor can win over an audience. Except for the fact that this has been running, or by the time it closes, it will have been running for the better part of five years. And that is a deeply respectable amount of time, especially at a theater like the Adelphi, a multi tier theater with a high capacity. This also being a show with a large cast that doesn't necessarily have the lowest weekly running costs, but also because it's the West End, will have made its money back years ago. We don't publish grosses here in London. We don't necessarily announce when something recoups. But I'm here to tell you Back to the Future definitely did that a long time ago. And more so than anything else, the reason for its closure right now, I think, is just because it has exhausted the audience that it can reach in London. There is a huge amount of novelty to Back to the the Musical, and I think it's probably been really successful in terms of getting a lot of people into the theater over the last half a decade who hadn't necessarily been before or wouldn't necessarily go particularly often. But in terms of tourists and dedicated theater fans and a lot of different demographics, I don't know the extent to which Back to the Future, the Musical as a concept appeals to them in the same way. And I guess that show kind of learned that lesson on Broadway. If you're going to be something that isn't necessarily for the immediate theatre community and for the audiences there, and you can't win over the tourists, then you're going to have a much more successful time traveling around the country, which I think Back to the Future will also do here. It's going to be so interesting to see how they can replicate the stuff that they were able to do in the Adelphi on tour. But you know, they've also developed a version for a cruise ship, so clearly they have some ability to pick this thing up and put it down somewhere else. Meanwhile, let's consider what this means for the theater industry in the UK and around the world.
- [13:59]
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- [15:08]
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- [15:35]
Mickey Jo
So I do think back. The future is closing in London because it has started to deplete the finite amount of interest that there was that could sustain the show. And five years is an utterly respectable and impressive even amount of time for it to be running. We have seen similarly sort of pseudo long running shows begin to go by the wayside. Tina the Tina Turner musical just down the road at the Old Witch Theatre having been another recent West End casualty. It's also possible that there are certain shows that more audience members are willing to go back to again and again, and the likes of Tina or Back to the Future may not have been those shows. There's something to be said for experiencing a visually impressive show like Back to the Future and being awestruck by it and then going to see it a second time and perhaps not having the same wow factor kind of experience because you've already had that the once. But and though I dismissed the idea, could this be some kind of a Small indication that audience appetites are starting to shift in a subtle way. And we are seeing already, as we head into 2026 in London, a lot of what I am going to call nostalgia programming, which is to say popular shows from yesteryear brought back to the stage in perhaps precarious financial times. Avenue Q coming back to the Shaftesbury. Kinky Boots with Johannes from Strictly Come Dancing going to the Coliseum. Waitress is going back on tour. Legally Blonde is going back on tour. This alongside rumors of finally, at long, long last, a lot of Broadway to West End transfers that we have really been waiting for. A conversation that I will pick back up in just a moment when we speculate what might be next for the Adelphi. But I am endlessly fascinated by what it takes for a show to become a long runner of more than five years, to begin to approach a decade or surpass a decade. And the last time we really saw that achieved might have been the Book of Mormon, I guess. It's very intriguing to see if six the musical is going to reach that kind of decade milestone in the West End. I very much assume that it is. It seems to have that kind of strength. It seems to be resonating enough in the minds of theatergoers and tourists alike. For what it's worth. I don't know that I would have predicted that Back to the Future would reach the tip. I would, however, be willing to speculate that there is another show about to open on the Strand that will. I am talking about Paddington the Musical down at the Savoy. And I'm going to generalize a little bit here. But the key demographic for Paddington is family audiences, and that could be groups of two, parents and child. It could be groups of three. It could be groups four. It could be groups of five. It could be very large groups. Groups at a time going to see this show. Paddington is also sort of adored by all ages because he's had this enduring appeal for multiple generations. Now. My parents love the Paddington movies. I love the Paddington movies. Of course, kids love going to see Paddington. It's a great one for families. I don't know if shows like Back to the Future could aspire to the same kind of breadth of demographic. And maybe there's even tears to this in terms of how you can open yourself up to the most possible success. And, you know, there's no real structured science. Science, because once people start to hear great word of mouth or if there's a popular celebrity name in the show, then that can draw people to the box office. People buy tickets for all sorts of reasons of their own, right. Award wins, TV appearances, viral TikToks. But if I'm suggesting that family audiences are a real gold mine because you're selling more tickets per transaction. I've also said in the past that if you can produce a musical, if you can write and stage a musical that dads are willing to go and see, then you're more likely to get the family audience. But you're also more willing to get, you know, a much wider array of couples going on a night out from perhaps around the country, traveling up to London. And I think the Book of Mormon, anecdotally and from what I have heard from Friends, is always, has always been a show that boyfriends are more willing to go and see. I wonder if Back to the Future, for some years now, has been a show that husbands are more willing to go and see if the wife wants to go and see a West End musical. And I'm generalizing here very broadly, but I dare say maybe a Back to the Future might be more of interest than Wicked if there are husbands out there who love going with their wives to go see Wicked. I love you. You are my people. And there's nothing wrong with preferring going to see Back to the Future or preferring going to see the Book of Mormon. But I think that can speak to some of the success that those shows have had and some of the appeal. And I can understand how Back to the Future has run as long as it has in London. I can also understand why it didn't run as long in New York. What is really baffling me at this point, and I've never visited this entire continent and I'm certainly not an expert on the theatre industry over there. But is the closure, the early closure of the Australian tour? From what I understand, the show is running in Sydney, but is going to conclude earlier than originally planned and had further Australian tour dates because there is no one individual Australian theatre capital. Like, there's good stuff happening in a couple of different places, but there's no one central focal area like the West End or Broadway. And from everything that I've heard about the Australian theatre industry and people I'm sure will bring thoughts to the comments because there are a few lovely Australians who do watch and comment on these videos. Is it a case that it's hard to sell anything over there that isn't already an established musical title title? Do audiences have more of a yearning for a Return of the Phantom of the Opera or something that is more known already? For being a musical rather than a new musical based on a film that they know? I would be very, very curious for the answer. Ultimately and beyond the West End production, I do think that Back to the Future is going to be a really successful production. We are in an age now of a lot of success being found by productions of real scale and spectacle where sometimes the technical wizardry happening in the is maybe even more important than the actual material in the script. One need only look at some of the most successful productions globally to see that putting on a very visually exciting show still remains really important. I mean, the Lion King has been able to sustain major productions around the world for decades now. Wicked is a musical very much celebrated by the theatre industry, but it's also one that is closely associated with with spectacle. We're also living in a time of major theatrical adaptations of popular IPS brought to the stage as these impressive effect filled plays. And we are already starting to see the global reach of Back to the Future the musical. Australian challenges notwithstanding, because the show is going out onto tour ships, which is mind blowing, it is going to be having a sit down production in Hamburg, Germany. It's touring around the us. There's a Japanese language production that's already started in Tokyo. I don't know that this show has as considerable a future when it comes to schools and amateur licensing. And you'll forgive me for chuckling a little bit about the notion of what I would go and see. I would love to go and see an am dram or school production of Back to the Future. I think that could be ingenious. But I think perhaps simultaneously a few things can be true. We are starting to see early signs in the uk, maybe a little further down the road already in New York, in Australia, of fatigue with the idea of yet another film brought to the stage as a musical. But we are also living in a time where these huge, lavish, spectacle driven productions are finding considerable financial success. Which begs the question when it comes specifically to the Adelphi Theatre in London. Back to the Future, the musical's current West End home. What might be.
- [23:12]
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- [24:21]
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- [24:53]
Mickey Jo
Next. So what do I think is heading into the Adelphi next? I had been hearing rumors, but I had been hearing rumors that were attached to the notion of Back to the Future, the musical, closing much earlier than it's going to. This is why I'd been speculating about the maybe parking the DeLorean earlier in 2025. That hasn't happened. So it's very possible that everything I know has been rendered moot. I will say, isn't it nice that I no longer have to tell you it's not going to be Beetlejuice because now that has finally been announced for the Prince Edward Theatre. Ah, for years and years all people wanted was Beetlejuice opening in the West End whenever anything else closed. Now, people are going to have moved on. And I know what show you've moved on to and I can feel the energy. I can hear you typing in the comments saying, mickey Jo, is it going to be Death Becomes Her? Is Death Becomes her going to the Adelphi? And I would love for you to listen very, very carefully when I tell you that as far as I know and prior to any changes that might happen down the line because things can shift and plans can alter, I understand that Death Becomes her is going to have a similar trajectory to Beetlejuice. A really, really similar trajectory. And that is as indiscreetly as I can possibly tell you that information. I don believe that it's heading to the Adelphi. What I will say is that we could speculate certainly about big musicals going to the Adelphi because of the size of the house. It is also one that is often coveted specifically by Broadway transfers. There are a couple of theaters that Broadway producers really love in the West End and there are enough of them over here. There are so many Broadway producers and Broadway investors in London these days, because it's a lot easier to, you know, make money over here with shows. One of those theatres that they really love is the Savoy, which I don't believe is going to be available for a long, long time. The other is the Adelphi. This has to do with the size of the stage, the technical capabilities of the theatre. As Back to the Future and other shows in the past have indicated, you can do an awful lot with the Adelphi. Also the capacity. It's a big enough house, you can sell a lot of tickets. It's not intimidatingly large like the Dominion. It's a great home for a lot of musicals. Hence, that is where Kinky Boots ended up when it first came to London. That is where Waitress ended up ended up. And one such Broadway musical that I have heard just the vaguest whispers on the wind about could be the Outsiders. This I had heard vaguely talked about when it came to the Adelphi. This was a little while ago. This is not recent. It's very possible that there are other Broadway transfers that have a little bit more momentum going for them, like more recent Tony Award winners. Like maybe Happy Ending. For what it's worth, I have heard maybe Happy Endings to name, thrown around with a couple of different West End houses. Neither of them were the Adelphi, but it's also very possible that their plans could have changed since this Back to the Future closing announcement happened. It sort of seemed for a long time that Back to the Future was really trying to hold on to the Adelphi, and this decision may have only happened quite recently. So now there might be shows scrambling to try and get in there from May, which is a decent enough time to open in the West End. And the exact month that a show chooses to doesn't really have the same kind of impact that it does on Broadway. One thing that we do have to consider, though, is the owner of the Adelphi Theatre, this is one of a handful of theatres owned by. Have they rebranded the name of. It's not the really useful group. It was LW Theatres. I can't remember if that's changed again with the whole Andrew Lloyd Webber brand thing. LW Theatres. Floyd Webber owns the Adelphi and what we know is that Sir Lord Andrew Lloyd Webber and Michael Harrison are going to be before too long searching for a home in the West End for the new musical the Illusionist, the new musical for which Sir Lord Andrew Lloyd Webber is composing the score. And this doesn't necessarily have to go into a theatre that he has owned, but it would make a little bit more sense if it did. The Palladium doesn't tend to house ongoing long running shows anymore. The Gillian Lynn is currently home to my neighbour Totoro. I don't know if that's to going going to keep extending on and on, but there's every possibility that it could. So it might be a case of something going into the Adelphi because I don't think the Illusionist is going to be ready in summer 2026. Perhaps something goes into the Adelphi for a limited time before the Illusionist is ready. And it's become really difficult to predict what those little filler limited runs are going to be. I couldn't have told you that Elf was going to the Old Witch. I've been very surprised by what's been in the announced for a handful of theaters. I mean Avenue Q going to a reduced capacity, partial refurbishment version of the Shaftesbury Theatre was a real curveball that I didn't see coming. But this could, I think be the most logical guess that we could make at this time that the Illusionist is eventually going to go into the Adelphi. That's one of Andrew's preferred theaters to open his new musicals. It's where I saw Love Never Dies as well as revival productions of Joseph and Evita. I didn't see them there, but they were there. And between now and then. This is pure speculation. I have not heard this, but maybe we will see a West End run, albeit a limited one, for one of the musicals that has been developing and premiering regionally. I am talking about A Knight's tale or 13 going on 30, both of which I think would be coveting a West End house of decent scale. There's also another upcoming regional musical premiere to consider, which is Freaky Friday, although I wouldn't have assumed that would not necessarily be bound for somewhere like the Adelphi. What's encouraging though is for the West End to be in a position where real estate is actually available. Because for months, for years even, it felt like nothing could even consider transferring to the West End because there was simply no space. And now some of the most coveted theaters are once again opening up. And as exciting as that is, it's also a little bit crass to point out because the closure of Back to the the Musical in April of next year is going to represent, as they always do, the loss of a great many jobs. Not only the current cast in the show, of which there is a decent amount of turnover, but the people who have been working on that production in and outside of the building for the duration of its almost 5 year run. My thoughts are with those people who have been helping to put together an awe inspiring show for the last half a decade. They should all be very proud of the work that they have done. And if you are a fan of the show, or perhaps someone who has always wanted to see Back to the the Musical in the West End but hasn't yet got round to it, you have a few more months in which to do so. This isn't a shock closing announcement that's happening next week. You still have like almost six months to go and see Back to the Future. So go and check it out at the Adelphi Theatre in London and stay tuned for more updates about what we might be seeing there next. In the meantime, if you would like to stay up to date with my thoughts on all of the other West End and Broadway news happening worldwide, then make sure you are subscribed to my theatre themed YouTube channel. Turn on notifications so YouTube lets you know every time I share a new video just like this one or follow me on podcast platforms. Feel free to share all of your thoughts and predictions about the closure of Back to the the Musical in the West End and the next tenant at the Adelphi Theatre in the comments section down below. And as always, I hope that everyone is staying safe and that you have a stagey day for 10 more seconds. I'm Micky Jo Theatre. Oh my God. Hey, thanks for watching. Have a stagey day.
- [32:03]
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- [32:38]
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- [33:23]
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