Theatergoers expecting a straightforward adaptation of the 1987 cult classic Lost Boys were in for a surprise this season. The new Broadway musical, which premiered at the Circle in the Square Theatre, reimagines the vampire thriller as a gothic coming-of-age story with a modern edge. While retaining the film’s signature neon-soaked aesthetic and razor-sharp dialogue, the stage production leans into its fairy tale roots, blending horror, romance, and dark humor with surprising depth.

Director-choreographer Casey Nicholaw—known for his work on Mean Girls and The Book of Mormon—takes a bold approach to the material. The production’s staging is inventive, using minimalist set design to evoke the coastal California setting without relying on elaborate scenery. The actors frequently break the fourth wall, creating an intimate connection with the audience that feels both thrilling and unsettling.

The Music: A Rock Opera Meets Sondheim

The musical numbers are the production’s standout feature. Composer Duncan Sheik—best known for the Tony-winning score of Spring Awakening—crafts a soundtrack that balances gritty rock anthems with haunting ballads. The score nods to the 1980s synth-pop and hard rock influences of the original film while expanding the narrative with new songs that delve into the characters’ psyches.

The ensemble numbers are particularly electric. The vampire gang’s choreographed entrance in “Bloodlust” is a highlight, blending synchronized dance moves with eerie lighting to create a sense of collective menace. Meanwhile, the romantic duet “Staked in Love” between the leads (played by Jordan Donica as Michael and Lauren Patel as Star) is a tender counterpoint, showcasing the show’s ability to balance horror and heart.

Critics have drawn comparisons to Little Shop of Horrors and Heathers, but Lost Boys carves out its own identity. The lyrics, by Alex Brightman, are sharp and witty, updating the film’s dialogue for a contemporary audience without losing its bite. One particularly memorable moment comes during “Fangs for the Memories,” a satirical take on nostalgia that skewers the very idea of the original film’s appeal.

The Performances: A Cast That Embrace the Darkness

The cast rises to the occasion, delivering performances that are as nuanced as they are energetic. Donica, who previously wowed audiences as Enjolras in Les Misérables, brings a brooding intensity to Michael, capturing the character’s transformation from aimless teenager to vampire hunter. His chemistry with Patel is palpable, making their romance both believable and compelling.

The supporting cast is equally impressive. Alex Wyse as the flamboyant vampire Luke steals every scene he’s in, while Alex Brightman—yes, the same actor who wrote the lyrics—delivers a scene-stealing performance as the Frog brothers’ comic-relief sidekick. Even the ensemble vampires, who double as the chorus, maintain a chilling presence throughout.

One of the show’s most surprising strengths is its ability to balance humor and horror. The vampire hunters’ slapstick antics in “Sunrise, Sunset” contrast sharply with the vampires’ predatory grace, creating a tonal whiplash that somehow works. It’s a risky approach, but the cast commits fully, making the tonal shifts feel intentional rather than jarring.

Design and Direction: Less Is More

Nicholaw’s direction is deceptively simple. The production’s design team—led by scenic designer Scott Pask, costume designer Susan Hilferty, and lighting designer Kenneth Posner—creates a world that is both familiar and fresh. The set is dominated by a skeletal frame that evokes the bones of the Santa Carla pier, while the costumes blend 1980s grunge with gothic Victorian elements. The lighting, meanwhile, uses stark contrasts to heighten the show’s dramatic moments.

The choreography is another standout. Nicholaw and co-choreographer Kelly Devine blend contemporary dance with period-specific moves, particularly in the vampire sequences. The result is a visual language that feels both timeless and distinctly modern. The show’s use of stage blood is also worth noting—it’s graphic enough to be shocking but stylized enough to avoid feeling gratuitous.

One of the production’s most innovative choices is its use of projections. Rather than relying on elaborate sets, the show uses video to transport the audience between locations. The effect is seamless and often breathtaking, particularly in the second act when the action shifts to the vampires’ lair. It’s a testament to the design team’s creativity and a reminder of how much can be achieved with limited resources.

Who Will Love Lost Boys?

This production isn’t for everyone. Fans of the original film may find the changes jarring, while purists might balk at the liberties taken with the source material. However, for those willing to embrace the show’s experimental spirit, Lost Boys offers a thrilling night at the theater.

The production is best suited for audiences who enjoy:

• Dark, edgy musicals that push boundaries
• Shows with strong ensemble casts and dynamic choreography
• Reimaginings of classic stories that add new layers of meaning
• Gothic horror with a sense of humor

If you’re looking for a straightforward adaptation, this isn’t it. But if you’re open to a theatrical experience that challenges and entertains in equal measure, Lost Boys is well worth the ticket price.

The show’s run has been extended through August, giving audiences plenty of time to decide for themselves. Whether it will become a cult classic or fade into obscurity remains to be seen, but one thing is certain: Lost Boys is a bold, ambitious production that refuses to play it safe.

Final Verdict

Lost Boys is a risky, rewarding, and occasionally ridiculous take on a beloved cult classic. It’s not perfect—some of the tonal shifts feel uneven, and the second act drags in places—but its strengths far outweigh its weaknesses. The cast is electric, the music is unforgettable, and the direction is inventive. If you’re a fan of dark, stylish musicals, this is one you won’t want to miss.

For those who prefer their theater tame and predictable, there’s always the latest news from Broadway. But for everyone else, Lost Boys is a must-see.