Ethan Rogers (Biff) Talks ‘Back to the Future’ Musical Time-Traveling Through the Southland

Some franchises become embedded in the mainstream, living beyond the epoch they were released, appealing to generations both past and present. Like Star Wars, or Marvel and DC Comics tentpoles, Bob Gale’s Back to the Future has stirred imaginations since 1985, almost as if there were a time-traveling DeLorean involved to ensure an unabated relevancy in 2024.

Enduring properties such as Back to the Future can’t resist being adapted into different mediums, in this case a musical since 2020, which is only natural given the film’s rip-roaring soundtrack featuring “Johnny B. Goode,” “Earth Angel,” “The Power of Love,” and “Back in Time.”

This time, the musical, which has been augmented by Alan Silvestri and Glen Ballard, and is touring North America (the latest stop being the Hollywood Pantages Theatre followed by Costa Mesa’s Segerstrom Hall), has a bevy of new, original tunes to supplement a story that is fabulously faithful to the original movie.

It is the rare plot that doesn’t require tinkering, appealing to not just musical aficionados but visitors who may not normally consider sing-song events. And they will be rewarded for doing so as attendees will be hard-pressed to find another production that has more immaculate scene transitions and seamlessly breathtaking special effects, conjuring images that are astoundingly right out of the Robert Zemeckis-directed film inasmuch one has to do a double take (while exclaiming “Great Scott!”) to remind themselves they’re in fact watching the stage show.

Of course, we can all visualize Hill Valley resident Marty McFly in his red puffer vest, a precocious teenager in 1985 who, thanks to a flux capacitor time machine constructed by his frizzy, chalky-haired scientist friend Emmett “Doc” Brown, burns enough rubber just outside of the Twin Pines Mall to kinetically travel into the past, precisely thirty years earlier (and back again with a little help from a curious clock tower).

In 1955, Marty meets and sees his parents, George and Lorraine, in a new light (not to mention Marty must guarantee their union to solidify his and his siblings’ existence) and comes head-to-head with malicious bully Biff Tannen whose ill-mannered behavior toward George in ’85 is conclusively explained through his gang-leader origins.

Suffice it to say, drama meets uproariously awkward comedy and, certainly, an engrossing science fiction that resolves narrative threads on a space-time continuum.

Versatile actor Ethan Rogers, who recently played heroic protagonist Jean Valjean in Les Misérables, recently discussed with LAexcites what it’s like to play an intimidating antagonist in Biff, and more, in a nostalgia-powered production that won the Laurence Olivier Award for Best New Musical in 2022.

Do you remember your first-ever exposure to Back to the Future, either by watching one of the three films, or coming across branded toys/merchandise? What was your initial impression and why do you think it has established itself as well as it has in the public’s collective consciousness?

Rogers: My first exposure to Back to the Future was watching the trilogy with my dad as a kid. I immediately fell in love with the films. There’s something so human and deeply American about this story that has made it a mainstay in our culture since it was released. It’s a story about perseverance, family, love, and belief in yourself. Plus, it’s funny as all get out! So, it’s no surprise that Back to the Future is still so popular. 

Back to the Future is one of the all-time beloved intellectual properties with characters people can recall in an instant. Taking into account having to meet an expectation by fans that your portrayal feels familiar, do you sense you’ve been able to add your own touches to Biff compared with Thomas F. Wilson’s depiction? Is Wilson’s take on Biff your inspiration for the character, or are you perhaps basing it on someone else?

Rogers: I have definitely been able to bring my own interpretation to Biff. That being said, there are absolutely lines that I should color within. Thomas F. Wilson laid a wonderful foundation for me and all other Biffs to build upon and pay homage to. My inspiration for Biff is, for sure, a mix of Wilson’s take on the roll and my own observations. I feel like everybody has a Biff or two in their life so it’s not too hard to draw inspiration from real life.

Evidently, the director who was originally earmarked for the musical, Jamie Lloyd, dropped out because he thought Biff would be more formidable if he didn’t sing. Obviously, his request didn’t come to fruition as there have been many successful musical villains who have sung. That said, do you think there are certain cases where Lloyd might have a point? And speaking of that, what’s been the biggest challenge in presenting Biff in a musical format?

Rogers: I think the context of a villain’s songs really matters. ‘Teach Him a Lesson,’ my song in the second act, absolutely makes sense and helps to build the character. So, I don’t think that song takes away from Biff’s power or the danger that he brings to the stage. Of course, it’s possible to have a song undermine a character’s development. No character should be singing just for the sake of it in a good musical. It should all be a part of informing the character’s growth and showing the audience who this person is. 

The biggest challenge of presenting Biff in a musical format is finding the balance of vocal and dramatic intensity. Biff is an angry and often vocally passionate character. So finding a way to maintain the integrity of that passion while also keeping in mind the sustainability of my performance in a long-running show is always a fun challenge.

Production photos reveal a very immersive set that is true to the classic film. What’s it been like moving around Tim Hatley’s fantastic scenery and how has it helped you align your Biff and his motivations with the mostly 1950s era represented by the production?

Rogers: Walking around this set is always a treat. Our scenery takes the audience and the actors right into Hill Valley. For example, stepping through the diner scenery allows me and the viewer to feel right at home with the iconic Biff Tannen, George McFly, and Marty McFly. 

Do you have a personal favorite moment in the show, and has that been consistent or has it changed throughout the tour?

Rogers: It’s so hard to pick just one moment! One of my favorites is the big Act I closing number/chase scene/fight scene/Biff gets his comeuppance sequence. It’s so much fun to perform and the audience just can’t help but have a good time. 

Another great number to look out for is Don Stephenson’s (“Doc” Brown) song ‘For the Dreamers.’ I think that song perfectly captures the heart of our show. And selfishly, Biff has a pretty great number in Act II that is such a blast to perform.

Lastly, is there a possibility we may see Back to the Future II: The Musical, and would you be interested in reprising your role?

Rogers: That is all well above my pay grade, but if the team wants to make it happen I’m all aboard!

Cover image caption: Pictured (L-R): Burke Swanson (George McFly), Ethan Rogers (Biff Tannen), Caden Brauch (Marty McFly), and Zan Berube (Lorraine Baines) in the North American tour of Back to the Future: The Musical. Photo by Matthew Murphy and Evan Zimmerman, 2024

Back to the Future: The Musical runs through Sunday, December 1st at the Hollywood Pantages Theatre. For more information and tickets, visit broadwayinhollywood.com. A few weeks later, the production will visit Costa Mesa’s Segerstrom Center for the Arts where it will run from Thursday, December 26th through Sunday, January 5th, 2025. For further details and tickets to that engagement, visit scfta.org.