The Joel Schumacher cult classic receives a rock-and-roll makeover (hint: Vamp. Because they’re vampires).
I was 14 when I experienced “Les Misérables” on Broadway, and it expanded my view of theater. In a Broadway season filled with stage adaptations of beloved films like “Beaches,” “Dog Day Afternoon,” “The Rocky Horror Show,” and “Titanique,” it was “The Lost Boys: A New Musical” that rekindled that childhood awe.
This musical, inspired by Joel Schumacher’s cult horror film, narrates the familiar story of a family starting anew in Santa Carla, California, only to face a group of motorcycle-riding teen vampires. The film was a mix of bloody horror, sincere drama, humorous comedy, and camp, notably featuring an inexplicably buff, shirtless saxophonist. I expected a self-mocking stage show akin to the Celine Dion musical parody “Titanique,” but “The Lost Boys: A New Musical” is more aligned with “Little Shop of Horrors,” even playfully referencing it.
The book by Chris Hoch and David Hornsby (“Mythic Quest”) expands the narratives of all family members and the alluring vampire, David. Though the film’s tonal shifts remain, new songs by The Rescues help transition emotions, hitting each with intensity.
Directed masterfully by Michael Arden (“Queen of Versailles”), the production skillfully unfolds with visual surprises. A dark stage, an opaque black scrim, and a small TV displaying President Ronald Reagan set the tone. A silhouetted cop’s flashlight gradually reveals a rusted factory as he calls into the darkness, unaware of the figure hovering above. It’s David (Ali Louis Bourzgui), who descends gracefully to feast on the cop, transforming the stage when the lights flash. Suddenly, we’re in Phoenix, Arizona, and Michael Emerson (LJ Benet) revs his motorcycle.
The family transitions from an abusive household to Santa Clara. The father, an absent figure in the film, becomes the initial monster they face, making Michael fear following in his father’s violent footsteps.
The musical enriches Sam and Lucy’s stories as well. Sam embraces his identity through “Superpower,” tapping into the film’s queer themes, while Lucy reflects on her past as a hippie in the spirited “Wild.” Arriving in Santa Clara, Lucy meets Max at a video rental store, Sam encounters the Frog brothers in a comic shop, and Michael plunges into the town’s darker side, entranced by Star, a performer in a rock band led by David. “Have to Have You,” David croons, capturing the seductive allure of ’80s hair bands.
Ali Louis Bourzgui is mesmerizing as David, embodying sex appeal and menace with a touch of Kiefer Sutherland’s iconic presence. Bourzgui’s dynamic portrayal, physical grace, and charismatic stage presence make him a rock star, a magician, and a theatrical god, his graceful flight across the stage immersing the audience in David’s world of vampiric thrills.
Director Arden’s ingenuity turns seemingly impossible scenes into unforgettable moments. Fog machines and wires recreate the train tracks scene without its film counterpart’s hokeyness, turning Michael’s fall into a breathtaking live stunt.
The supporting cast enriches the production, shifting seamlessly from surfers to vampires to superheroes, building Santa Clara’s vibrant world. Arden carefully orchestrates every performance, from strategic blocking to David’s commanding presence, using lighting and pyrotechnics for electrifying scenes that evoke a rock concert’s energy.
“The Lost Boys: A New Musical” surpasses the film, crafting an engaging theatrical experience with stunning production design and captivating performances. Wirries delivers powerful performances, Bean exhibits Broadway diva prowess, and the supporting cast brings humor and suspense. Paul Alexander Nolan subtly captures Max’s complexity, while Benet and Pajak shine as bickering brothers.
However, Bourzgui’s stellar portrayal of David is the musical’s crowning achievement, transforming the role from Kiefer Sutherland’s classic to a unique Broadway performance, leaving audiences eager for more.
“The Lost Boys: A New Musical” is now showing on Broadway.