THE LOST BOYS Previews — Page 6

Do we at least get the sexy sax man ?

WldKingdomHM said: "Do we at least get the sexy sax man ?"

Oh, yes.

Cape Twirl of Doom said: "Just got back from tonight’s performance. I have not read any feedback on the show (or seen the movie.)

First off the show is way longer than it has any right to be. It ended at around 10:57 (and it then took a full ten minutes to get out of that theater from the balcony! Seriously the logjam there is terrible.)

The problem is you really feel that length. We don’t need half the songs to be slow ballads about family. It seriously seemed like every other song was sung by ShoshanaBean, who don’t get me wrong is incredible, but I want more vampires in my vampire musical you know? Every time David and the other vampires were on stage I was captivated and really into it, and then we’d get another long sloooow scene in the kitchen or bedroom. The “Frogs” characters are not funny IMO, they were just annoying. Was it supposed to be funny that the girl called herself brother? Was it like that in the film or did they make the character female but keptthe name and relationship? Just a weird choice.

And the big final confrontation was just… that’s it? So incredibly anticlimactic. Like they spent all the budget on the set and forgot they needed some kind of big effect scene to end it. And the set is amazing. Really impressive and looked great.

The audience tonight was crazily enthusiastic with yelling and cheering, I was feeling like what am I missing here?

It’s not bad,it just could have been better.

ETA: oh yeah that loud noise in act two! I totally jumped at that too, definitely did not sound like that was supposed to happen."

Could someone please elaborate on that gunshot-like sound in Act 2? - Are all of you who were at the show sure it was something that shouldn't have happened? Could it be a new effect that was added to the show?

noahseestheatre said: "CoffeeBreak said: "noahseestheatre said: "Also will be baffled if Shoshana doesn’t nab another Tony nom for this. She sings on a roundabout for God’s Sake!"

if only her character hadn'tjust left the Shubert, crossed east through times square and walked into the Palace. Copy + paste."

At least the food she made had steam in this show"

Yes, in HK it was salads and sandwiches. In LB clams (still not sure WHY we need to sing & talk about clams).

Yes, in HK it was salads and sandwiches. In LBclams (still not sure WHY we needto sing & talk about clams).

"Would hate to hear about your feelings of the Act II opener ofCarousel..."

They at least had a real nice clambake.

he's very queer coded throughout but never "comes out" as gay. (a Rob Lowe stan). Instead self-designates as "queer" (as his "superpower" during a weird camp caped-ensemble superhero number that could be cut in half if needing to exist at all (another tonal abnormality)-

The book and direction both are both quite uneven.

Updated On: 4/1/26 at 03:02 AM

Auggie27 said: "1) Did Levy doge a bul--stake in the heart--staying with Ragtime til spring and then going on parental hiatus?

2) With this show the same season as the Queen, isthis director's skill set being re-evaluated? I think Maybe Happy Ending is one of the most exquisite pieces of musical staging in the last 20 years, utter perfection. No doubt because the show is structurally tight,the craft in the storytelling on the page. Yet I found it hard to believe that so many wrong-headed decisions were made about the Chenoweth vehicle - not just conceptually, but directing 101 concerns like blocking and stage space management to focus story. It just happened all over a pricey, restrictive set waiting for a full reveal. The discussions here point to a staging that veers closer to Arden's last effort, a narrative that loses rather than gains power - and fumbles tone - on a too-expansive canvas."

Directors are allowed to fumble. Let’s also look at the material of these shows. Most Broadway directors have one big bit then never reach that level again. Arden has delivered multiple quality productions in recent years. Perhaps it’s a bad season for him. But Parade, OOTI, Maybe Happy Ending. I say let’s not erase it all.

Ensemble1698878795 said: "Directors are allowed to fumble. Let’s also look at the material of these shows. Most Broadway directors have one big bit then never reach that level again. Arden has delivered multiple qualityproductionsin recent years. Perhaps it’s a bad season for him. But Parade, OOTI, Maybe Happy Ending. I saylet’s not erase it all."

What's the common thread here? Revivals or shows with years of development and stagings outside of Broadway before he became attached.

And yeah I kind of can’t get over how anticlimactic the final confrontation is:

It is wild to me that producers will spend so much on "development" only to have shows make few meaningful changes, open on Broadway and flop, then blame the audiences, critics, social media, everyone other than themselves and then also complain about rising production costs.

Updated On: 4/1/26 at 05:51 PM

ErikJ972 said: "Seating question. I'm looking at buying a ticket in the front mezz but they all have limited leg room warnings. Does anyone know how bad it is? I'm 6'2". I think I have sat up there before but it's been a long time. Like Will Rogers Follies."

Buy either the chairs at the last row of the balcony or the sides of the orchestra. I was second row orch, but my legs couldn’t deal.

I take Kad's point here. It was unfairly reductive to lay this at Arden's feet, with most posts cataloging the ways the narrative doesn't hold for an evening, or sustain a cohesive tone. I listened to a podcast interview - the Stephanie J. Block theater content pod - and Arden is enamored with this piece, particularly its score. He promises something so special, uniquely in the world of the show. Music's "success" in musical theater is decidedly subjective (I loved Days of Wine and Roses; some found it unlistenable.) I do find myself wondering what elements in the sound/texture/ melodic shape of the score besotted the director. As everyone has noted, the show has fine vocals and a state of the art sound design for rock. No one has complained about the execution, only the monotony in power ballads in a youth-fueled story.

Would more workshopping have helped when the fulcrum of the creative team fell in love with the compositions? Maybe not. I do believe that workshops teach everyone involved about the need for variety. The element of surprise. If you've ever sat through them on a folding chair, you find out quickly how a score amplifies and illuminates a tale well enough told.

Updated On: 4/1/26 at 08:35 PM