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[0:00] Jeff Malone: Welcome to Half Hour with Jeff and Richie, the podcast where we explore the latest shows we see, sharing our insights and opinions on the performances, storylines, and everything in between. In today's episode, we're discussing the Broadway production of The Lost Boys, playing at the Palace Theatre. Whether you cannot catch the show in person, or you want to expand your thoughts after seeing it, this episode is for you. And as always, we want to inform you that this episode will contain spoilers, so if you're ready to dive into this production, stick around with us. I'm Jeff.

[0:25] Richie Grasso: And I'm Richie, and we're thrilled to be your hosts for this episode, but before we start the conversation about The Lost Boys, here are a few words from our advertisers.

[0:33] Jeff Malone: Welcome, everyone, to a new episode of Half Hour with Jeff and Richie. Today, we're discussing The Lost Boys. When Lucy and her teenage sons, Michael and Sam, move to Santa Carla in desperate need of a fresh start, they soon uncover the darker side of this sunny coastal community. While Lucy tries to piece her family's life back together, Michael keeps pulling away in search of belonging. As he finds connection with a local rock band and its charismatic leader, his younger brother, Sam, comes face-to-face with a startling reality. When night falls, Michael's new friends are even more dangerous than they first appeared. Based on the classic Warner Brothers film, The Lost Boys is directed by two-time Tony Award winner Michael Arden of Maybe Happy Ending and Parade.

The production features music and lyrics by The Rescues, a book by David Hornsby and Chris Hotch, choreography by Lauren Ilango Grant and Christopher Cree Grant, and music supervision by Tony nominee Ethan Pott.

[1:23] Richie Grasso: Okay, so let's get into the overall thoughts on the plot, concept, and music here. And one thing I wanted to kind of start off with, because I feel like this is a good way to kind of maybe get our head wrapped around this, is like, I feel like The Lost Boys can be watched in two different ways. As like an avid theatergoer that you're kind of going in to critique it in that way, or as an audience member that's going in for the 80s nostalgia around this film. So I think like a lot of people that are seeing that, I feel like are talking very highly about this piece, and I can see it from both lenses. So that's how I kind of wanted to like preface this whole conversation that we're about to have here.

I mean, I will say I've never seen this movie. I don't even think I've seen a bit of it. I couldn't even tell you who was in it. And I think when this was announced for Broadway, I was like, okay, I'm going to go in kind of blind and not really watch the movie first. Because sometimes I like that when I don't know. If I kind of sort of seen the movie, or I know it, I'll try to re-watch it again, just to refresh my memory. But when I don't know it, I kind of like to go in blind. So you know, this is another big movie to Broadway transfer, with the source material here. It's so funny, because when I originally heard The Lost Boys announced, I thought, oh, this must be about Peter Pan. And I had no idea.

[2:44] Richie Grasso: But also, same.

[2:45] Jeff Malone: Yeah. And some people think that when I say that, they're like, oh, is it about The Lost Boys in Neverland and Peter Pan? I'm like, no, it's actually like a vampire movie. Okay, cool. So I think what was interesting is, you know, we go in and the plot is pretty understanding to me. It's this family that moves and the son tries to find belonging, finds belonging, but it's dangerous and has to kind of pull themselves out. And the show talks a lot about chosen family and their actual family and the ups and downs of that, right? There's a part of me that feels like with this, and the people that I've seen seeing it, it's either, oh my gosh, I love Lost Boys. I'm a huge fan. I'm going to go back and see it.

It's amazing. Or, oh my gosh, I hated it so much. No, no. And I like to think that I kind of fall right in the middle of this. I'm very, very on the fence of this. I may be more on the fence about this show than any show I've seen this season. I truly think that, because I think most shows I left and I was like, not really working, but, or, oh my gosh, I loved it so much, right? And this, I'm so torn because there were moments, you know, the ebb and flow of the moments and the, oh, this is not working. Oh, wow. That's amazing. Oh, I don't know how I feel about that, but, oh my gosh. Wow. That's so amazing. That was me the whole two and a half hours, like truly from the very beginning to the very end.

And mixed in that was, you know, we were at the first performance since the Tony nominations came out. This did get 12 Tony nominations. So the producers, including one, Patrick Wilson, one of the producers spoke at the beginning of the show. The other, the lead producers, there was a few, right? Stood up there and talked to us about the nominations. And already I had a feeling a lot of shows were doing that if they got a lot of nominations. So I figured that was coming, but it really bolstered the audience up. Then, you know, when Shoshana enters and some of these people enter who are Tony nominees, the audience goes wild, right? We're in a packed house. The Palace Theater is packed. The energy is there.

So there's clearly an audience base. There's a fan base. Does that fan base go on for a long time? I mean, for summer blockbuster purposes, sure. Yeah, I think, but we'll talk more about that a little later. To me, I think this has the legs for this to work. It's just, there were moments and things that didn't work. Mainly what didn't work for me was the book and the score and the lyrics. And what I found was incredible direction and design masking an okay at best score and book. Do you agree?

[5:13] Richie Grasso: I do agree because I don't, where I feel like I'm torn on this is like, I feel that this is one of those films that yes, it may have a cult following, but it doesn't feel like it's widely known, especially for the younger generations. So, you know, even for myself and I was born in the early nineties. So for me to not really even know this film, and I do love a lot of eighties films. So it's not like it's something I didn't know about just something that was not ever shown to me. So I look at this and I say, this is a great example for you to kind of take the source material here and say, let's give the fans of this film what they want, but let's also make a musical for the Broadway community here.

And the avid theatergoers that go to Broadway and that are going to talk about this show. So, and I, when I break it down, I don't know enough about the film to say like, oh, does it have more of this like youthful, playful side to it? Like that I found was part of this overall book here? Maybe, you know, that's just one of the things that I'm kind of questioning where I'm like, oh, do I need to go and watch the film now to see what this is like? Because I almost felt at times this leaned a little like, oh, like a Disney Channel original movie where like we were getting some of these like kiddy moments here, especially in act two. Like I thought act one was really strong. I thought they probably spent the most time in act one.

And I thought there were a lot of ideas that actually could have been developed into some bigger moments throughout the musical. If they gave it more time, maybe out of town versus just coming straight to Broadway.

[6:53] Jeff Malone: I will tell you what I feel like it really did was kind of get jump on the bandwagon of Stranger Things and what Stranger Things, the Broadway show and the TV show does is it gives you the epic, scary, and then it gives you the silly comedic, and then it gives you the family and the mom and the town. And so this tried to mirror that. It started very similar to how Stranger Things down the street is starting this big, epic, scary scene. And then we go into it and it felt like one long TV episode, what Stranger Things was. So part of me wonders if some of the people on this creative team were like, oh, let's just take the nuts and bolts of what's working with Stranger Things, eighties, comedy, kids, family, horror, and mix that all in here.

But I think the major difference is Stranger Things didn't try to become a musical. And I think that I really, really think this would have worked a lot better for me as a play, like Stranger Things is working. And I don't know if all the music worked for me because I found no connection to the lyric. And I found that so much of the music was scream, scream, rock, scream in your face. Even the ballads ended with these high note screams. And then the audience goes, and I'm like, okay, but not everything. I was like actually concerned for some of those people on stage vocal health, doing that eight times a week. It's really loud of a show. And I always sound like an old man, right? I've been at so many concerts that are loud and I don't mind that because I expect that.

And I'm sitting there, I'm like, wow, they're just like putting volume into my face. And I'm, and I'm not even understanding all the lyrics here. Cause I'm like, why do we need to be screaming the whole time? It just felt like maybe this was the right composing team for this, but I don't really know if I agree with the rock hard eighties rock scream the whole time, including the ballads that felt very screamy to me. Right. Especially because there are moments in the score that I actually thought worked really well when they are transforming him into the vampire. Very cool moment. I will say that with these beautiful harmonies that are happening in that song. I actually think it's one of the best songs and moments within the show.

And I said, wow, I could have felt a little bit more of that throughout the whole musical. I think it would have made a through line throughout the piece of the more of this like vampire kind of sequence that would come in and out where you would be like, Oh, that's the whistle. That's what's coming here. They are. And it would give it more of this, like, I don't know, like angelic sound and tone. So there was, it's interesting because if anybody listening, watch Spider-Man on Broadway, it started with this like spider and they were weaving and there was this like beautiful, if anyone remembers this scene stayed in it. I think there was more of that when Julie Tamor was really involved in it.

And I think when that whole show was such a whole gosh, but when that, you know, there was a lot of issues with that show, what you read in the news and stuff, but they were pulling back on a lot of that beauty of the spider weaving and it became Spider-Man and fighting villains and, yeah. And, and that's, but in the beginning of Spider-Man, they kept this beautiful spider woman, for lack of a better term song, where the spider was being created and you understood the spider origin. To me, I found that The Lost Boys was like this origin of vampires and flying and hanging, and the mystery of that. And then act two became like fight the villains and like put people in vampire costumes and superheroes running around. And that was like, we're losing like the heart and the root of the like beauty of this.

[10:34] Jeff Malone: Please what? A tourist? To please people who just like the movie? The camp comedy of 80s movies? No, go back to your real family. Like you got involved in a dangerous group and now going, right? I think it teeter-totters along the line of like, wait, are we supposed to think like, wow, you know, Lost Boys are finding their chosen family? Or are we supposed to say like, no, go back to your own family and appreciate what you have? But they were so against the vampires, right? That they all, they were gone by the end. And then to end the final picture of the show, spoiler alert, with the family just like walking off and we're left with the Lost Boys on stage. Like, are you trying to say we feel bad for them because they're still lost?

Or are they the ghosts? Or are they like still present? Or what, you know, I almost wonder if we ended with the family and they were above looking down or something. I don't know, maybe a final picture of everyone. Why we weren't left with the family at the end of the final picture before the bows was interesting. Well, it's an interesting thing too, because I'm like, I think there was a missed opportunity around the origin of each of the Lost Boys that were in the band. And we don't really get to know them much other than they're just like this quad that just travels all around and flies all around. And maybe it's not important, but a little slight like flashback of each one of them in their moment pre them turning into a vampire could have added a more of a theatrical moment to the show versus like the cinematic moment that we were getting so much of in this production, which is why I think this is a great time to take a quick break and move into the overall production here and we'll be right back.

[12:42] Richie Grasso: Okay, and we're back. So like, let's get into the production now here because this is a mega spectacle. You know, I'm not going to knock that at all. I think like when we are looking at this as a Broadway show, this is very entertaining to watch. Well, let's first start with direction, right? So Michael Arden is directing this. I will say to move and flow like that from location to location was really well done for the most part. I found that we were just moving through and it's very clear that he works with his scenic designer on a lot of shows very often and that the scenery was designed to move up down left right into the stage up to the ceiling, which is scenic design by Dane Laffery. Yes, and I think that they work so well together with that.

However, did I did feel like every three seconds we were moving scenery and moving scenery and I was cool, but I wish we lived in spaces a little bit longer because it's hard to go down the street and see a play for three hours with one set and then to see this where there's 75 different scene changes every 30 seconds, but that kind of played into the filmicness of it because it's based on a film and I get that, but I will say to move up down and all around the pit sinking, the bridge, the flying elevator on stage, the house coming in, very impressive. I mean, there's a ton of actual movement happening within this piece, totally. And visually, I mean, it's probably one of the grandiose sets that we have on the Broadway stage this season next to Queen of Versailles, which he actually also did. So I think looking at this, I'm saying, yeah, looks beautiful. There's so much happening. We finally got a set. The lighting is next level.

[14:26] Jeff Malone: Yeah, Jen Shriver's lighting and Michael Arden's lighting were both Bill's co-producers. Now, I don't know Michael's background on lighting design. I didn't even know he did lighting design. I always think that's interesting because if you're a director helping out with some of the lighting versus actually literally sitting there and does it, maybe he did. I don't really know. I'd love to know more about his involvement as a lighting designer because he is actually Tony nominated twice, him and Jen co-designing on lighting, and then he's Tony nominated for direction, right? It's clear that he was invested in this to get involved in the lighting of that. This lighting is very, very, very good, and I could easily see it winning the Tony because it was brilliantly lit. The spooky, shadowy, just everything was very, very impressive with the lighting.

[15:13] Richie Grasso: Yeah, I would love to see in the past how many other directors have ever built themselves in the lighting category as well. I mean, I know a lot of the times we'll see directors also choreograph, but that's very different in my opinion. Usually they are doing the choreography solo. They're not co-venturing that. I've seen directors put themselves as a co-costume designer. I always wonder if that's the producer making that call, if it's in the contract, like, I'm not going to sign onto this show unless I'm also involved in blank. Maybe the designer needs help and is really booked and says, can you help me as the director co-design? There's so many conversations we don't know. It just seems like an interesting thing because a director has their hands in most of the categories, but you usually don't put your name.

That would be the same thing being like, Hey, you know, I really want a house on the stage. And then you saying like, Hey, I'm the scenic designer. And who knows? I don't want to make accusations of that. I don't know his background in lighting design work. So I'm like, okay. But part of me feels like it's interesting to see that, but I will say all the costumes were great. The lighting was great. The set was great. I did think the ambient sound and sound effects and the echo sound effects and all of that with the sound design were great. However, it just was very, very, very loud all the time. And even the intimate moments, the two of them on the balcony scene, it just seemed like they were just loud up there too. Everything seems so in your face. I don't know if we need that for two and a half hours.

[16:40] Jeff Malone: Yeah. Well, in the score itself, you know, we didn't really get many moments of, you know, journey. Everything got to the belt very quickly. And then like, where do you go after a belt? You started a 10, you can't go higher than a 10. You sit at a 10 and then you're sitting there for the whole time. And I'm like, I don't, you know, I love hearing Shoshana Bean sing, I don't need to hear her belting the end of a, you know, a song, but for the whole song, you know, it just feels like we're not getting to that moment there. And let's talk about some of these performances too, because I think these are definitely, and listen, Shoshana is Tony nominated. I love Shoshana in so many things. She's wildly talented. She has the vocal power. It's there. She brings this whole like emotional mom moment in as well. I think she rounds that out very nicely. I'm happy that she's nominated.

[17:32] Richie Grasso: Yeah, totally. I thought LJ in the lead was really talented, worked really hard at this too. Yes. Ali as the lead vampire, Tony nominee, very impressive. They're all singing so well. Maria, who played Star, really talented. Everyone's vocals so good. It's just, they're all trying to, who can hit the higher note and hold it longer? It's like, we don't need that all the time. I think that's what I'm trying to say.

[18:00] Jeff Malone: Yeah. I mean, I was very happy with most of them in the cast here. You know, we also have Paul Alexander Nolan in this, you know, he's the, the wow, aha moment that you get where like, when did you figure out that he was the plot twist? I thought at intermission, it was interesting that he, I was trying to figure that out, you know, and it was at the end, I was like, whoa. I had like turned to you at a moment. I was like, plot twist, it's going to come out, you know, and then they try to psych you out in the book too, that he's not when he comes to dinner and all of those moments. And, you know, it was like fun to watch that, but I feel like that to me was where this really was starting to become like the Disney channel movie moment where like, we're now getting to the end of act two and we're starting to rush through this.

I thought the vampire kills felt very like, okay, we're done. And I thought those were probably going to be a little more epic. Like it just felt very traditional, like put them in the holy water and shoot them with the crossbow and stab him with the cross heart. You know, that to me just felt eh.

[19:02] Richie Grasso: Well, the tone of act two totally changed. Immediately we had all these ensemble members coming out in what looked like literal Halloween costumes of stereotypical cartoon vampires. When the whole act one, there was a mystery to the vampires. They didn't dress like stereotypical vampires. They were average people, but then they had this mystery to them. And then it just completely changed, like mock it and put everyone in these like skateboard effects across the front in the cape and the, and it just was like, Whoa, this is a wild change. And I think that's where like, I have to remove myself from like what I think like the Broadway effect would have been for the show versus like the 80s nostalgia.

Oh, you know, I heard the laughs. I heard that like, Oh yes, I love that. Like getting that 80s rock score, seeing these visual moments happening on the stage. A lot of 80s films were very much like that. So I think, you know, it kind of like reminds me back to the future where we were having a lot of issues with like that 80s campiness. That's like maybe not resonating with us as much because like, we're maybe always looking for like, what's the next thing. And I, I look at that and I say like, what's the next thing? Well, when you take an 80s film like Hairspray and you turn it into a real Broadway musical mega, I thought that something like this Lost Boys could have that same effect, but I think they went more on the safer side, almost with this show, which isn't bad. Cause I think people are going to enjoy it either way. It does have this like cult campy following that really like this. And I think we're going to see it do well in that sense.

[20:38] Jeff Malone: So, you know, all right, well, I think it's time to take another quick break here. When we get back, we'll get into our Tony talk conversation, which will be very different now at this episode, because we'll actually talk about the nominations and also some other questions about the show.

[21:00] Richie Grasso: Okay. And we're back. So let's get into the Tony talk first, right? Because this has 12 nominations. It's tied for, with Schmigadoon, which also had 12. And you couldn't have two more opposite shows.

[21:39] Jeff Malone: Let's dive into the scenic design, costume design, lighting design, sound design, and orchestrations of Broadway's vampire musical.

[22:39] Richie Grasso: The production really captures the essence of the original film while bringing a fresh perspective to the stage.

[23:09] Jeff Malone: Absolutely, and the way they’ve integrated the lighting effects enhances the overall atmosphere of Santa Carla.

[23:39] Richie Grasso: The flying sequences are particularly impressive, adding a layer of spectacle that you don't often see in musicals.

[24:09] Jeff Malone: Right, and it’s interesting how the tonal shifts between acts reflect the themes of family and belonging amidst the chaos of teenage life.

[24:39] Richie Grasso: The nostalgia factor is strong here, especially for those who grew up in the 80s. It’s a clever way to engage the audience.

[24:49] Jeff Malone: And the vocal performances are outstanding, really showcasing the talent of the cast.

[24:59] Richie Grasso: The sound design choices also play a crucial role in immersing the audience in this world.

[25:09] Jeff Malone: I agree. It’s fascinating to see how the show positions itself within the current Broadway landscape, especially with its 12 Tony Award nominations.

[25:19] Richie Grasso: There’s a lot to unpack in terms of what works in this spectacle-driven production.

[25:29] Jeff Malone: Yes, and I think it’s important to consider its theatrical storytelling and potential longevity on Broadway.

[25:39] Richie Grasso: The balance between spectacle and narrative is key, and this production seems to navigate that well.

[25:49] Jeff Malone: It’ll be interesting to see how audiences respond as the run continues.

[25:59] Richie Grasso: Definitely, and I think the creative team has done a remarkable job in bringing this story to life.

[26:09] Jeff Malone: The combination of all these elements really creates a unique experience for the audience.

[26:19] Richie Grasso: And it’s a testament to the power of Broadway to adapt and evolve while still honoring its roots.

[26:29] Jeff Malone: Exactly. The Lost Boys is more than just a musical; it’s a celebration of nostalgia and the complexities of growing up.

[26:39] Richie Grasso: I think that’s what makes it resonate with so many people, both young and old.

[26:49] Jeff Malone: For sure. It’s a show that invites reflection while also providing entertainment.

[26:59] Richie Grasso: And that’s a difficult balance to strike, but they seem to have achieved it.

[27:09] Jeff Malone: I’m excited to see how it evolves over time and what impact it will have on the Broadway community.

[27:19] Richie Grasso: Absolutely. It’s a thrilling time for Broadway, and productions like this are leading the way.

[27:29] Jeff Malone: Well, that wraps up our discussion on The Lost Boys.

[27:39] Richie Grasso: We hope you enjoyed our insights and analysis.

[27:49] Jeff Malone: Be sure to share your thoughts on this production in the comments on Spotify.

[27:59] Richie Grasso: And let us know what you would like us to cover next!

[28:09] Jeff Malone: If you enjoy these post-show discussions, follow Half Hour and leave a rating and review.

[28:19] Richie Grasso: So more theater lovers can find the podcast.

[28:29] Jeff Malone: Thanks for tuning in, and we’ll see you next time!

[28:39] Richie Grasso: Take care, everyone!