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Changed line(s) 2 (click to see context) from:
* The set pieces themselves also fit the setting of the musical, whether it be in Twin/Lone Pine(s) Mall, or Hill Valley's café and town square in 1955. Having some screens behind the physical props aids in full immersion, from giving the blue skies of the town on November 5, 1955, to the increasing motion blur as the [=DeLorean=] accelerates to 88 miles per hour into another time. They also employ a clever way to cut between the scenes of Marty accelerating in the [=DeLorean=] and Doc plugging in the cabling by moving the setpiece of the clocktower from right to left and switching back to Marty with clever projection effects, then moving the setpiece Doc is on when it cuts back to him.
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* The set pieces themselves also fit the setting of the musical, whether it be in Twin/Lone Pine(s) Mall, or Hill Valley's café and town square in 1955. Having some screens behind the physical props aids in full immersion, from giving the blue skies of the town on November 5, 1955, to the increasing motion blur as the [=DeLorean=] accelerates to 88 miles per hour into another time. They also employ a clever way to cut between the scenes of Marty accelerating in the [=DeLorean=] and Doc plugging in the cabling by moving the setpiece of the clocktower from right to left and switching back to Marty with clever projection effects, then moving the setpiece Doc is on back into view when it cuts back to him.
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Changed line(s) 2,4 (click to see context) from:
* The set pieces themselves also fit the setting of the musical, whether it be in Twin/Lone Pine(s) Mall, or Hill Valley's café and town square in 1955. Having some screens behind the physical props aids in full immersion, from giving the blue skies of the town on November 5, 1955, to the increasing motion blur as the [=DeLorean=] accelerates to 88 miles per hour into another time.
** They also employ a clever way to cut between the scenes of Marty
accelerating in the [=DeLorean=] and Doc plugging in the cabling by moving the setpiece of the clocktower from right to left and switching back to Marty with clever projection effects, then moving the setpiece Doc is on when it cuts back to him.
** They also employ a clever way to cut between the scenes of Marty
accelerating in the [=DeLorean=] and Doc plugging in the cabling by moving the setpiece of the clocktower from right to left and switching back to Marty with clever projection effects, then moving the setpiece Doc is on when it cuts back to him.
to:
* The set pieces themselves also fit the setting of the musical, whether it be in Twin/Lone Pine(s) Mall, or Hill Valley's café and town square in 1955. Having some screens behind the physical props aids in full immersion, from giving the blue skies of the town on November 5, 1955, to the increasing motion blur as the [=DeLorean=] accelerates to 88 miles per hour into another time. \n** They also employ a clever way to cut between the scenes of Marty
Marty accelerating in the [=DeLorean=] and Doc plugging in the cabling by moving the setpiece of the clocktower from right to left and switching back to Marty with clever projection effects, then moving the setpiece Doc is on when it cuts back to him.
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Changed line(s) 2 (click to see context) from:
* The set pieces themselves also fit the setting of the musical, whether it be in Twin/Lone Pine(s) Mall, or Hill Valley's café and town square in 1955. Having some screens behind the physical props aids in full immersion, from giving the blue skies of the town on November 5, 1955, to the increasing motion blur as the [=DeLorean=] accelerates to 88 miles per hour into another time. They also employ a clever way to cut between the scenes of Marty
to:
* The set pieces themselves also fit the setting of the musical, whether it be in Twin/Lone Pine(s) Mall, or Hill Valley's café and town square in 1955. Having some screens behind the physical props aids in full immersion, from giving the blue skies of the town on November 5, 1955, to the increasing motion blur as the [=DeLorean=] accelerates to 88 miles per hour into another time.
** They also employ a clever way to cut between the scenes of Marty
** They also employ a clever way to cut between the scenes of Marty
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Changed line(s) 2 (click to see context) from:
* The set pieces themselves also fit the setting of the musical, whether it be in Twin/Lone Pine(s) Mall, or Hill Valley's café and town square in 1955. Having some screens behind the physical props aids in full immersion, from giving the blue skies of the town on November 5, 1955, to the increasing motion blur as the [=DeLorean=] accelerates to 88 miles per hour into another time.
to:
* The set pieces themselves also fit the setting of the musical, whether it be in Twin/Lone Pine(s) Mall, or Hill Valley's café and town square in 1955. Having some screens behind the physical props aids in full immersion, from giving the blue skies of the town on November 5, 1955, to the increasing motion blur as the [=DeLorean=] accelerates to 88 miles per hour into another time. They also employ a clever way to cut between the scenes of Marty
accelerating in the [=DeLorean=] and Doc plugging in the cabling by moving the setpiece of the clocktower from right to left and switching back to Marty with clever projection effects, then moving the setpiece Doc is on when it cuts back to him.
accelerating in the [=DeLorean=] and Doc plugging in the cabling by moving the setpiece of the clocktower from right to left and switching back to Marty with clever projection effects, then moving the setpiece Doc is on when it cuts back to him.
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Changed line(s) 4 (click to see context) from:
* The [[CoolCar DeLorean time machine]] is a character in its own sense throughout the film and its sequels, gadgets and all. Here? It's even cooler with its snazzy lights on its interior, plutonium reactor and even its hub cabs and it's voice activated though it only recognises Doc's voice. Plus some screen setups and a little movement from the car itself makes it look like it's going up to and beyond 88mph on a cramped stage. And if that's not enough, it has some jaw-dropping pyrotechnics and accompanying special effects to make it look like it's gonna rip through the space-time continuum to get to another period in time, especially with its lightning rod; even the moment it disappears or reappears in time pulls off some neat lighting tricks. And that ending...where ''it can now fly while still onstage'' for all to see thanks to some cleverly concealed support hydraulics, even as '''it does an aileron roll over the audience'''; even the wheels are folded to face downwards just like the film and the Mr. Fusion reactor is present, showing just how faithful the car in the musical is to the one in the film.
to:
* The [[CoolCar DeLorean time machine]] is a character in its own sense throughout the film and its sequels, gadgets and all. Here? It's even cooler with its snazzy lights on its interior, plutonium reactor and reactor, even its hub cabs and it's voice activated though it only recognises Doc's voice. Plus some screen setups and a little movement from the car itself makes it look like it's going up to and beyond 88mph on a cramped stage. And if that's not enough, it has some jaw-dropping pyrotechnics and accompanying special effects to make it look like it's gonna rip through the space-time continuum to get to another period in time, especially with its lightning rod; even the moment it disappears or reappears in time pulls off some neat lighting tricks. And that ending...where ''it can now fly while still onstage'' for all to see thanks to some cleverly concealed support hydraulics, even as '''it does an aileron roll over the audience'''; even the wheels are folded to face downwards just like the film and the Mr. Fusion reactor is present, showing just how faithful the car in the musical is to the one in the film.
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Changed line(s) 4 (click to see context) from:
* The [[CoolCar DeLorean time machine]] is a character in its own sense throughout the film and its sequels, gadgets and all. Here? It's even cooler with its snazzy lights on its interior, plutonium reactor and even its hub cabs. Plus some screen setups and a little movement from the car itself makes it look like it's going up to and beyond 88mph on a cramped stage. And if that's not enough, it has some jaw-dropping pyrotechnics and accompanying special effects to make it look like it's gonna rip through the space-time continuum to get to another period in time, especially with its lightning rod; even the moment it disappears or reappears in time pulls off some neat lighting tricks. And that ending...where ''it can now fly while still onstage'' for all to see thanks to some cleverly concealed support hydraulics, even as '''it does an aileron roll over the audience'''; even the wheels are folded to face downwards just like the film and the Mr. Fusion reactor is present, showing just how faithful the car in the musical is to the one in the film.
to:
* The [[CoolCar DeLorean time machine]] is a character in its own sense throughout the film and its sequels, gadgets and all. Here? It's even cooler with its snazzy lights on its interior, plutonium reactor and even its hub cabs.cabs and it's voice activated though it only recognises Doc's voice. Plus some screen setups and a little movement from the car itself makes it look like it's going up to and beyond 88mph on a cramped stage. And if that's not enough, it has some jaw-dropping pyrotechnics and accompanying special effects to make it look like it's gonna rip through the space-time continuum to get to another period in time, especially with its lightning rod; even the moment it disappears or reappears in time pulls off some neat lighting tricks. And that ending...where ''it can now fly while still onstage'' for all to see thanks to some cleverly concealed support hydraulics, even as '''it does an aileron roll over the audience'''; even the wheels are folded to face downwards just like the film and the Mr. Fusion reactor is present, showing just how faithful the car in the musical is to the one in the film.
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Added DiffLines:
* The whole musical itself could count as this. It's basically a massive tribute to what made the first film so amazing and timeless, only this time, it has some more songs encapsulating the situations of Marty, Doc, Lorraine and so many more characters.
* The set pieces themselves also fit the setting of the musical, whether it be in Twin/Lone Pine(s) Mall, or Hill Valley's café and town square in 1955. Having some screens behind the physical props aids in full immersion, from giving the blue skies of the town on November 5, 1955, to the increasing motion blur as the [=DeLorean=] accelerates to 88 miles per hour into another time.
* Doc Brown here has a fear of heights in this iteration. Due to some unforeseen circumstances, a wire unplugs, forcing Doc to venture to the face of Hill Valley's clock itself. He ends up braving the violent downpour and thunderstorm, all while [[FaceYourFears pushing onwards at least several feet above ground]], just to plug the wires back and ensure his old future friend gets back to 1985.
* The [[CoolCar DeLorean time machine]] is a character in its own sense throughout the film and its sequels, gadgets and all. Here? It's even cooler with its snazzy lights on its interior, plutonium reactor and even its hub cabs. Plus some screen setups and a little movement from the car itself makes it look like it's going up to and beyond 88mph on a cramped stage. And if that's not enough, it has some jaw-dropping pyrotechnics and accompanying special effects to make it look like it's gonna rip through the space-time continuum to get to another period in time, especially with its lightning rod; even the moment it disappears or reappears in time pulls off some neat lighting tricks. And that ending...where ''it can now fly while still onstage'' for all to see thanks to some cleverly concealed support hydraulics, even as '''it does an aileron roll over the audience'''; even the wheels are folded to face downwards just like the film and the Mr. Fusion reactor is present, showing just how faithful the car in the musical is to the one in the film.
* The set pieces themselves also fit the setting of the musical, whether it be in Twin/Lone Pine(s) Mall, or Hill Valley's café and town square in 1955. Having some screens behind the physical props aids in full immersion, from giving the blue skies of the town on November 5, 1955, to the increasing motion blur as the [=DeLorean=] accelerates to 88 miles per hour into another time.
* Doc Brown here has a fear of heights in this iteration. Due to some unforeseen circumstances, a wire unplugs, forcing Doc to venture to the face of Hill Valley's clock itself. He ends up braving the violent downpour and thunderstorm, all while [[FaceYourFears pushing onwards at least several feet above ground]], just to plug the wires back and ensure his old future friend gets back to 1985.
* The [[CoolCar DeLorean time machine]] is a character in its own sense throughout the film and its sequels, gadgets and all. Here? It's even cooler with its snazzy lights on its interior, plutonium reactor and even its hub cabs. Plus some screen setups and a little movement from the car itself makes it look like it's going up to and beyond 88mph on a cramped stage. And if that's not enough, it has some jaw-dropping pyrotechnics and accompanying special effects to make it look like it's gonna rip through the space-time continuum to get to another period in time, especially with its lightning rod; even the moment it disappears or reappears in time pulls off some neat lighting tricks. And that ending...where ''it can now fly while still onstage'' for all to see thanks to some cleverly concealed support hydraulics, even as '''it does an aileron roll over the audience'''; even the wheels are folded to face downwards just like the film and the Mr. Fusion reactor is present, showing just how faithful the car in the musical is to the one in the film.
