AceShowbiz - Running two hours and 40 minutes with one intermission, The Lost Boys has finally opened at the Palace Theatre, located at 160 W. 47th Street, bringing a fresh and electrifying vampire musical experience to Broadway audiences.

After years of disappointing vampire-themed productions like Dracula, Dance of the Vampires, and Lestat, which failed to capture the magic and became objects of ridicule, this new adaptation of The Lost Boys breaks the curse. The previous flops left Broadway-goers wary of any undead musicals, but this show promises something genuinely captivating.

From the moment the lights dim and the production opens with a gripping scene where a police officer is violently killed midair by a group of vampiric rockers, it’s clear that this musical is not to be mocked. Instead, it delivers a stunning array of visual and emotional moments that leave audiences breathless.

Directed by the acclaimed Michael Arden, who has made a notable comeback with this production, The Lost Boys combines spectacle with heartfelt storytelling in a way unlike any other musical currently on Broadway. While not fully immersive, the show envelops the audience in an intoxicating 1980s arcade atmosphere that is both nostalgic and thrilling.

The three-level crypt set designed by Dane Laffrey takes full advantage of the Palace Theatre’s towering height, creating a visually striking environment. The lighting, crafted by both Jen Schriever and Arden himself, is so beautiful it deserves to be credited above the show’s title. The production also features extraordinary aerial stunts that range from high-flying musical solos to intense vampire attacks, adding a dynamic physicality that enhances the storytelling.

This is a production that embraces grand scale and ambition. It would not suit a smaller venue like City Center Encores; Broadway’s larger stages are perfect for its gargantuan scope and energy, which has been largely missing from recent seasons.

Based on the iconic 1987 film, the musical updates the story to the 1980s California coast, swapping the Victorian Gothic castles and European accents of older vampire tales for a sun-soaked, punk-infused Santa Carla. The book by David Hornsby and Chris Hoch, along with a score by the band The Rescues, reimagines the undead as rebellious rock musicians, blending goth aesthetics with the era’s vibrant youth culture.

The plot follows a family of three seeking a fresh start in the coastal town of Santa Carla, where teenage mischief runs rampant on the boardwalk and a string of unsolved murders has everyone on edge. The question looms: what sinister force is behind the spikes in violence?

Seventeen-year-old Michael, played with emotional depth by LJ Benet, is a melancholy teen searching for meaning. His younger brother Sam, portrayed by Benjamin Pajak, is a comic book enthusiast obsessed with Rob Lowe. Their mother Lucy, played by Shoshana Bean, struggles with the need to find employment and possibly a new partner.

Michael quickly falls in with the wrong crowd, a rowdy rock band led by the striking and dangerous David, played by Ali Louis Bourzgui. This platinum-blond frontman and his bandmates only appear after dark, raising suspicions about their true nature.

Bourzgui, who earned praise for his previous Broadway role as the titular character in The Who’s Tommy, delivers an enthralling performance. His David channels a charismatic devil-may-care attitude, reminiscent of a Bowie-like Beelzebub, using his smooth baritone and magnetic presence to lure Michael into the vampire fold.

Unlike the 1987 movie, where Kiefer Sutherland’s David never sang, the musical’s choice to turn the vampires into rock musicians naturally integrates the music into the narrative. This shift also adds a rebellious punk edge to the vampires, amplifying their threat and fitting perfectly with the anti-establishment themes vampires embody.

The score by The Rescues is energetic and atmospheric, though it occasionally feels a bit crowded with songs. While these tunes might not join the ranks of classics like Gypsy or The Sound of Music, they contribute a dark, edgy vibe that channels bands like Evanescence, aligning well with the show’s moody tone and strong performances.

Among the musical numbers, the haunting main theme stands out, while character-driven songs punctuate the story. One notable ballad, “Belong to Someone,” performed by Benet as Michael, serves as a pivotal moment where he sings from above the stage, weightless and free, expressing his longing for connection and purpose. This breathtaking moment is a highlight of the production.

LJ Benet, making his Broadway debut, brings a blend of teen idol charisma and heartfelt vocal strength to the role, making Michael’s journey compelling and relatable. Meanwhile, Shoshana Bean’s Lucy, though somewhat underwritten, shines in the powerful duet “Wild,” sharing the stage with Paul Alexander Nolan’s Max as they reclaim their identities and desires.

As Michael navigates his new life—sometimes literally hanging upside down—he befriends Star, played by Maria Wirries, and his family’s secrets unfold. Meanwhile, Sam teams up with the Frog Brothers, portrayed by Miguel Gil and Jennifer Duka, to uncover the terrifying truth: Santa Carla is overrun with vampires.

Benjamin Pajak, who previously appeared in The Music Man, demonstrates remarkable comedic timing and vocal ability far beyond his years. His second-act song, “Superpower,” is simultaneously quirky and uplifting, providing a bright contrast to the darker themes of the show.

The trio’s quest to expose and defeat the vampires has a scrappy, adventurous vibe reminiscent of The Goonies, adding a youthful energy and suspense to the narrative. The musical’s unfolding of its mysteries is more engaging and coherent than the original film, offering a fresh perspective that keeps audiences hooked.

This production also invites comparison with the recent Stranger Things: First Shadow, suggesting that The Lost Boys delivers exactly the kind of thrilling teen supernatural story that fans crave but found lacking elsewhere.

Michael Arden’s directorial year has been eventful. He began by directing The Queen of Versailles, which garnered mixed reviews. Yet with The Lost Boys, he has crafted what could be considered the standout new musical of the 2025-26 Broadway season.

It is remarkable to note that this best new musical is a vampire rock show, a genre that Broadway has long struggled to conquer. But with its innovative design, powerful performances, and compelling score, The Lost Boys may finally have succeeded in bringing the undead to life on Broadway in a way that truly resonates.