This post was updated Nov. 19 at 11:27 p.m.

“Back to the Future: The Musical” is all about progress – but the future of theater feels bleak.

Adapted from the classic 1985 sci-fi film, the stage show has skated from Broadway to the Hollywood Pantages Theatre, where it will run through Dec. 1. Produced by franchise creators Bob Gale and Robert Zemeckis, the musical mirrors its original storyline, following 17-year-old Marty McFly (Caden Brauch) and his accidental transportation to 1955 via a time machine built by the bizarre Doc Brown (Don Stephenson). “Back to the Future: The Musical” is visually ahead of its time, delivering an almost cinematic spectacle with dazzling effects and inventive set design. But when audiences stop to focus on its poor pacing and excruciatingly uninspired songwriting, an uncomfortable truth becomes harder to deny: This is a nostalgia bait cash grab at its core.

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The production unfortunately starts on its lowest note with three consecutive numbers of rushed exposition and generic lyricism. The opening song “It’s Only a Matter of Time,” which is seemingly meant to show Marty as a suave and triumphant teen, boasts the poetics of a first grader with vague lines like, “It’s feelin’ like my lucky day / Gonna make it and then skate away.” The writers continue to disappoint with their introduction of Marty’s girlfriend, Jennifer Parker (Kiara Lee), in the unremarkable “Wherever We’re Going.” With neither the couple’s chemistry nor Jennifer’s personality anywhere to be found, these first few minutes ultimately fail to create any anticipation for what’s ahead.

Mercifully, interest picks up when the show’s more compelling characters take center stage, beginning with “Hello, Is Anybody Home?” The vintage pop tune presents Marty’s quirky, troubled family, including his comically timid father, George McFly (Burke Swanson), and his old-fashioned mom, Lorraine Baines (Zan Berube). Though the song matches its predecessors’ oversimplified writing, the sharp comedic performances of the McFly’s instill the necessary entertainment value that was previously lacking.

It is the introduction of Doc Brown, however, that fully electrifies the production. The Tony Award-deserving Stephenson perfectly matches, and at times, surpasses, the captivating, chaotic energy of the role’s originator – Christopher Lloyd. His free-flowing line delivery and expert physicality make him a breath of fresh air amid performances that occasionally feel inauthentic. The musical seems intentionally structured to set Doc apart, as his solo number, “It Works,” features psychedelic projections and rotating set pieces that significantly enhance its theatricality.

Momentum literally takes off from this point forward, as Marty enters Doc’s meticulously crafted DeLorean and is shot 30 years back in time. The journey to 1955 is completely immersive and truly unforgettable, brought to life with zooming graphics, multicolored lights and a working deck track system that make the car look like it’s racing across the stage. This one scene alone makes a scarily strong case for the recent wave of film-to-stage adaptations – its mechanical mastery contributes to an experience even more moving than it ever was on screen.

Moreover, scenic and costume designer Tim Hatley refuses to miss a beat in his construction of 1955 Hill Valley. Marty’s mission to set up his parents and return to his timeline brings him through a plethora of distinct locations, including a soda shop, a high school dance and the top of a voyeur’s tree. Each backdrop flaunts vibrant colors and clever details to engage the crowd, and they smoothly slide offstage during scene transitions.

And while it might just be a side effect of the enthralling visuals, the show’s music seems better in 1955 too. Young Lorraine’s passionate ballad “Pretty Baby” captures all the delightful charm of old-school doo-wop in her hilariously choreographed quest to seduce Marty. Soon after, “Something About That Boy” closes the first act with the highest energy of the show, pairing jaunty instrumentation with a brilliantly staged fight and multiple moving set pieces.

But don’t fret – “Back to the Future: The Musical” wouldn’t let audiences get too far without a reminder that the writing is miserable. Act II opens with the confusingly unnecessary “21st Century,” a dream sequence in which Doc rides a 2015-esque hoverboard and imagines life in the future. After he sings more bland lines like, “The new world will be shiny and bright / It will be a delight,” the show returns to its focus on Marty’s adventures in an abrupt change of pace.

After this, though, the second act is consistently strong, neatly wrapping up the characters’ slate of challenges with several humorous numbers along the way. Personalities also become more solid here, as Doc’s poignant solo “For the Dreamers” reveals the shrouded pain on his road to achievement, exploring the emotional depth beyond his eccentric exterior. And despite his lackluster introduction, even Marty proves himself to be an endearing protagonist by the show’s end, largely thanks to Brauch’s charismatic portrayal.

The musical concludes with the ever-extraordinary DeLorean taking flight above the stage – presumably by the means of hydraulics, though it certainly feels real when seated in an awe-filled theater. To the average viewer, there is absolutely nothing to complain about. With a roughly $60 ticket, they are flown to another decade, hypnotized by twinkling lights and able to revisit one of the greatest comedies in cinematic history.

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But for anyone who truly loves theater, or film, or understands why they are separate art forms to begin with, the production is somewhat unsettling. In a time where it feels increasingly difficult to push original stories forward, this adaptation – and its estimated $23.5 million budget – do not alleviate the struggle. It is hard to believe it was created by artists with a real passion for musical theater, as evidenced by its prioritization of sensational effects over thoughtful writing. Nonetheless, its producers have no obligation to save the integrity of performing arts. So, if they wanted to unite fans of a 1980s classic, they did their job well.

Extremely fun, but not so fresh, “Back to the Future: The Musical” might have a complicated relationship with history.