I was 14 when I saw Les Misérables on Broadway, and it blew my mind. The production, with its spinning stage and massive ensemble, expanded my understanding of what live theater could be. And in a Broadway season arguably overstuffed with stage interpretations of beloved movies, like Beaches, Dog Day Afternoon, The Rocky Horror Show, and Titanique, it was The Lost Boys: A New Musical that took me back to that feeling of being a child in awe of the magic of live theater.
Based on the grubby cult horror film from Joel Schumacher, this musical offers the familiar story of a family of three looking to start a new life in the beachside town of Santa Carla, California. There’s just one obstacle to a single mom and her teen sons having a happy ending: a roving pack of motorcycle-riding teen vampires.
The movie is a messy blend of bloody horror, earnest drama, goofball comedy, and camp — including an inexplicably buff, shirtless, and greased-up saxophone player. So, my expectations for the stage show were that it would be self-mocking, like the irreverent fun of the Celine Dion jukebox musical parody Titanique. However, The Lost Boys: A New Musical has more in common with Little Shop of Horrors, which gets name-dropped in a cheeky moment of self-awareness.
The book by Chris Hoch and David Hornsby (Mythic Quest) fleshes out the narratives for all three family members, and the sexy mullet-sporting vampire named David. From there, the tonal shifts of the movie remain, but original songs from the band The Rescues help smooth the transition from one emotion to the next, so that each can hit with a rousing intensity.
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