Ali Louis Bourzgui, Dean Maupin (Photo: Matthew Murphy)
The Lost Boys -A New Musical
By Matthew Roland
Director Michael Arden takes a bite out of the 1987 cult classic The Lost Boys, reimagining it as a high-budget, high-gloss stage adaptation, now on Broadway at the Palace Theatre. The Lost Boys: A New Musical is set in the fictional beach town of Santa Carla, California, where the Emerson family relocates from their old home in Arizona. They need a fresh start after a turbulent chapter in their lives. Upon arrival, they discover a dark, restless energy lurking beneath the town’s sun-soaked surface.
With a book by David Hornsby and Chris Hoch and music and lyrics by The Rescues, the creative team leans into a nostalgic ’80s sensibility. The score is a clear highlight, channeling a gritty punk-rock and grunge sound that suits the material well. The book, however, is frequently overshadowed by the production’s heightened visual and musical language, proving less compelling than the world built around it.
Arden, known for his flair for large-scale spectacle, once again delivers a directorially ambitious staging with a distinctly cinematic sensibility. The production opens with a cold open that drops the audience directly into a suspenseful sequence, an energy that carries through the evening. Constant scene shifts and fluid blocking give the piece a kinetic momentum, even when the storytelling itself falters.
Visually striking, multi-level scenic design comes from Dane Laffrey; the stage becomes a literal playground for the actors, who seem to get a full-body workout navigating the Palace Theatre’s huge stage through constant entrances and exits. Set pieces emerge from above, below, and every corner, fully capturing the show’s dark, underground world. This is complemented by a brilliant lighting design by Jen Schriever and Arden, which seamlessly enhances the environment, adding depth and dimension.
Costume design by Ryan Park fully commits to the show’s ’80s aesthetic, leaning into bold silhouettes, layered styling, and period-specific detail that firmly establishes the world of the production. Each look feels intentional and character-driven, helping to define personality while reinforcing the gritty, sun-soaked California atmosphere. Equally integral is David Brian Brown’s wig design, which completes the transformation with precision and flair. From exaggerated volume to era-appropriate cuts and textures, the wigs play a crucial role in shaping the overall visual identity, helping to fully immerse the audience in this heightened 1980s world.
LJ Benet, Ali Louis Bourzgui, and Company (Photo: Matthew Murphy)
Choreography and aerial choreography by Lauren Yalango-Grant and Christopher Cree Grant truly shine in the show’s flight sequences. While much of the grounded movement leans into a loose, organic style often framed within a nightclub or rock concert atmosphere, it’s when the vampires take to the air that the work becomes most striking. As they levitate and glide through the theatre, their movement turns ethereal and otherworldly, perfectly capturing the essence of these creatures of the night.
With some of the most impressive vocals this season has to offer, the cast is stacked with both Broadway veterans and debuts alike. Shoshana Bean (Lucy Emerson) stops the show with commanding vocals across the score, while still finding a surprising tenderness in her scene work as a devoted mother simply trying to do right by her children. Broadway debut LJ Benet’s portrayal of older son Michael Emerson is compelling, though the role’s rock-heavy vocal demands raise questions about sustainability across eight shows a week. Rounding out the Emerson family is Sam, played by the immediately endearing Benjamin Pajak, who captures the neurotic, awkward energy of a 14-year-old nerd navigating an already unsettling world.
LJ Benet, Ali Louis Bourzgui (Photo: Matthew Murphy)
The leather-clad immortals are led by Ali Louis Bourzgui, who brings a seductive, mysterious edge to David, the band’s frontman. His distinctive vocals and brooding presence anchor the ensemble, embodying the allure of this bloodthirsty leader. He is joined by Dwayne (Sean Grandillo), Marko (Brian Flores), Paul (Dean Maupin), and Star, played by Maria Wirries. Together, they deliver a chilling Act One highlight, their tight harmonies forming one of the more arresting moments of the evening. Wirries, in particular, emerges as a focal point at key intervals, showcasing a vocal command that carries effortlessly through the theatre.
Other notable performances include Alexander Nolan as Max, the video store owner, who delivers a compelling Act Two duet with Bean titled “Wild,” further developing their relationship as it evolves throughout the musical. Also of note are the Frog Brothers, played by Miguel Gil and Jennifer Duka, who provide welcome comic relief as they take on the fight against the vampires, determined to defeat them at any cost.
The Lost Boys is at its best as a piece of theatrical design and atmosphere. Act One builds an immersive, visually driven world with real momentum, but Act Two loses some of that propulsion as it moves toward its climax. Instead of building tension, the production often settles into observation rather than urgency. While its “wow” moments are undeniably effective in isolation, they don’t always cohere into sustained dramatic payoff. Still, it remains a strikingly staged evening of theatre. Far from seamless, but consistently engaging, and undeniably ambitious in scope.
At the Palace Theatre
160 W. 47th St.
Running time: 2 hours 30 minutes, one intermission
Open run
