Vampires are so back: The Lost Boys take a bite out of Broadway

Vampires are so back! Micheal Arden’s revisioning of the classic ’80s horror takes a bite out of the 2026 Broadway season.

The Lost Boys featuring music by the Rescues, began previews at the Palace Theatre in March and officially opened on April 26, just in time to be eligible for this year’s Tony Awards for which it received 12; including Best Musical. 

The story closely follows that of the movie, in which Lucy Emerson and her two teenage sons, Micheal and Sam, move to the town of Santa Carla, California, intent on starting a new life. However, they quickly learn that the undead plague their new life, and the town is swarming with vampires who have their own plan for the Emerson family.

What is instantly apparent of this show is that it truly is a spectacle, complete with over the top sets and stunts. The set, designed by Dane Laffery, fills the stage of the Palace Theatre complete with flying set pieces, trapdoors and even a working elevator. Aerial effects throughout the larger set enhances its scale by sending the band of vampires soaring feet above the stage.

The technical elements work hand in hand with the performances of the ensemble cast, who work to add a sense of heart to the story centered around the idea of a found family. LJ Benet leads the cast seamlessly in his Broadway debut, bringing a sense of youth to Michael’s character. Ali Louis Bourzgui plays the charming yet deadly David opposite him. Bourzgui adds a sense of humanity to the vampire; something that is not touched upon in the film. 

While there are standout songs sprinkled throughout such as the rocking “Have to Have You” and Act One finale “Secret Comes Out,” some of the songs feel a touch out of place. While no one is denying the powerhouse that is Shoshana Bean as Lucy, it feels that she has one too many songs; especially considering her role in the original film was much smaller than its musical counterpart. Some of the songs also affect the pacing of the show, something especially apparent in the second act, when the focus switches from Micheal and the titular Lost Boys to that of Sam and the Frog Brothers, two local vampire hunters who team up with Sam to save Micheal. While their comedy brings a lightened sense to the show, Sam’s big song “Superhero” where he realizes its “Cool to be queer” slows down the momentum of the finale. 

The second act as a whole feels a bit rushed and is definitely weaker than the first half. Where the first act ended with a beautiful ballad featuring the vampiric teens floating through the sky and culminating in Michael crashing through Sam’s window, the second act features little to no flying at all. The real let down comes in the form of the final vampire battle in which David is defeated through a stake to the heart, much less cinematic than in the movie where Micheal and David decked it out in the air.

Despite its shortcomings, The Lost Boys stands out as a show not afraid to take risks and has many of them pay off. While the show may not leave audience members pondering the meaning of life after they leave the theater, it will have them wondering, “when did vampires get sexy?”