Michael Arden to direct musical adaptation of THE LOST BOYS, with music by The Rescues — Page 8

Hi everyone, I’m planning a summer trip and looking to buy a couple of tickets to The Lost Boys. I have a few questions about the venue, as I’ve never been to The Palace Theatre before.

As others have mentioned, there seem to be a lot of tickets unavailable. However, I noticed a pair of tickets on the center aisle of the orchestra Row C (4th row) and another pair on the center aisle of the orchestra Row J (10th row).

I usually enjoy being close to the actors and really seeing their emotions, but I’m concerned that the 4th row might be too close for a show of this magnitude. I’m also worried about the seats in Row J, as I’ve seen conflicting reports about whether they are under the mezz overhang or not.

Of course, I would love to have better options between those two rows (or the front row mezz) and maybe those seats get released at a later date, or maybe not?

I’m hoping to get some feedback from this group, who might have been to The Palace Theatre before. Should I buy one of the pairs I mentioned, or wait to see if other blocks of seats get released? I appreciate your help!

I was excited for this at the start but my hopes are now gone.

They need to do more promoting and have an "event" offering stuff and great deals on previews. It has worked in the past with other shows but considering the cold, and that previews don't start for two more months, it will be at least a few more weeks before that happens. They need to release a discount code by February at the latest though. It's true that people buy later, but tickets are not exactly flying off the shelves.

Updated On: 1/28/26 at 03:00 PM

It is now available for a plethora of Wednesday performances (matinee and evening) on TDF Passport.

Sutton Ross said: "They've even started a podcast on the making of this musical. It's a good idea, but you have to get people interested in the show first."

Updated On: 2/3/26 at 03:38 PM

Kad said: "Most people I know who would be inclined to buy tickets are all taking a wait-and-see stance on this. It's just too big of an unknown right now for people to commit with these prices."



Absolutely. I'm holding one last slot on my April trip, and it will come down to this, Chess, or Fear of 13. But I'm waiting for early word on the latter two before deciding. Vampire musicals have a rocky history at best, so I'm biding my time to see if this one bucks the trend.

Ensemble1711444445 said: "They are still a little short on money but close enough that they can take a priority loan against the tax credit if they can't find the last couple of million. Let's hope not having done an out of town doesn't create a financial money pit for them.

Is an extension of the tax credit funding safe to gamble on? Aren't the funds technically depleted?

I’ll keep in mind more seats may be released in the future…but I’m still curious, for those who have been to this venue, would orchestra row J center aisle be good seats?

Is that row covered by the mezz at all?

Additionally, if money were not a factor, which would be the best seats in the house for a show this “big”?

The seating chart on View From My Seat says the overhang *starts* at row J, so probably OK unless something is staged directly above (which I'd doubt.)

CoffeeBreak said: "They are indeed hurting for money. The overlong rehearsal period (even with no out of town)of two months has questioned investors in the creative output ability of the team. And the money already spent on numerous expensive workshops to lure investors has at cost sky high. Thisteam works on glitz and behind it appears to be not much. Worry in the ranks. The Palace could indeed have another show replacement by spring..."



Sure thing. Right after Ali drops out right? 😂😂😂

For a bit of context about the "podcast", it's a 3 episode "special" of the Playbill Podcast -- it's not as if they're organizing, recording, and mixing a full run of podcasts. And the producers are only featured in the first episode. They certainly have a passion for the material -- and Warner Brothers (and other rights holders) were super protective of the IP. Whether any of that ultimately makes a good show, we shall see -- but you shouldn't knock them for a marketing effort.

Updated On: 1/29/26 at 12:33 AM

Merkin2 said: "It’s mostly star leadplays because that’s the only thing that makes money. I’m not mad at more plays, I’m mad at the lack of new ones. Broadway doesn’t need any more newmusicals until we get composers who knowhow to write one again. Meanwhile, there are incredible American playwrights who never get produced on Broadway, it’s sad. Liberation is an aberration these days, mostly everything stays off Broadway."

Updated On: 2/3/26 at 08:38 AM