The Lost Boys was...
I caught The Lost Boys last night. It is still during its preview run, which means the show is still very much a living organism, figuring out exactly how sharp they want to be by opening night. Even so, walking in as someone who has never seen the original film, I found myself surprisingly engrossed and, at times, genuinely moved.
At its core, this musical plays less like a straight horror story and more like a family drama wearing a vampire’s leather jacket. Beneath the blood and bravado, it’s really about grief, belonging, and the fragile architecture of family. The biggest revelation of the evening was Shoshana Bean. I had already seen her electrifying work in Hell's Kitchen, and she brings that same emotional voltage here. As the boys’ mother, she radiates a vulnerable determination that anchors the entire story. In fact, her performance is so compelling that it almost distracts from some of the thinner material the character is given. When the writing wobbles, she simply muscles it upright.
Broadway newcomer LJ Benet was another pleasant surprise. This may be his Broadway debut, but he carries himself with a natural confidence that immediately reminded me of the presence Brody Grant had when he broke out in The Outsiders. There’s a similar electric tension in the air around the central relationships here as well. Whether intentional or not, the show hums with a faintly homoerotic undercurrent. In The Outsiders, that energy reads as brotherhood and chosen family. Here it feels a little darker, a little more dangerous, which actually suits the vampire mythology quite well.
Then there’s Benjamin Pajak, playing the nerdy younger brother. He emerges as the show’s unexpected comic relief, and the kid has undeniable stage presence. His storyline is a bit on the nose, sure, but there’s an argument to be made that this show benefits from that kind of earnest clarity. Musically, the score is uneven but promising. Some numbers soar while others feel like they’re still finding their rhythm. The recurring vampire hymn motif works beautifully, threading a sense of eerie ritual through the show, and several of the rock-driven ensemble pieces absolutely rip. The opening number, however, felt oddly soft for a show that should burst onto the stage. For a moment, I worried about the overall strength of the score. Thankfully, stronger songs appear as the evening progresses.
If anything needs tightening, it’s the pacing. A few numbers, particularly those involving the Frog brothers, feel more like filler than fuel for the story. And the ending arrives a bit too quickly, too cleanly...as if the show suddenly remembered it had a curfew.
What unquestionably works is the set design. In an era where many productions lean heavily on projections and digital trickery, this show chooses to build its world the old-fashioned way. The set is massive, tactile, and gorgeous. It feels alive. From the moment the curtain rises, the stage becomes an immersive environment rather than just a backdrop. That alone gives the production a muscular theatricality that’s increasingly rare.
Of course, previews exist for a reason. Cuts will be made. Songs will shift. Moments will sharpen. But even in this early state, the show delivered exactly what the packed house came for. The audience was loud, thrilled, and fully locked in. Sometimes that’s the whole point of theatre.A little chaos.A little blood. And a rowdy good time.
So if you get the chance, sink your teeth into it.