THE LOST BOYS Reviews — Page 4

When the race in this category is as close as it seems to be, I’ll simply lean towards originality for the win. (SUFFS, for one, would beg to disagree, but I digress.)

Unless one of its competitors forges ahead as a late favorite, I still have TWO STRANGERS bringing home best musical this year.

Updated On: 4/27/26 at 12:36 AM

The other issue The Lost Boys seems to have is a lack of interest early on from the nostalgia audience. Although ive always thought The Lost Boys more niche than something like Back To The Future, im assuming producers thought differently. But it doesnt seem to be front loaded with sales to fans of the film who wouldnt wait for, or care about, reviews. Unlike Back to the Future which did well early on. This suggests a lack of already built in audience that movie adaptions tend to rely on.

blaxx said: "Kad said: "Reviews are only one aspect of what determines Tony winners. There are 800-odd voters and critics make up a statistically irrelevant part of that body and frankly reviews a whole don’t matter much unless there is overwhelming consensus in either direction, positive or negative. Plenty of very well-reviewed shows and performances havegone home empty handed; plenty of shows with adequate reviews have taken home big prizes."

I disagree. Moulin Rouge as a pandemic exception, most if not all Best Musical Tony winners in recent years have been critic darlings.

It's extremely hard to find a winner that didn't have heavy influence from its great reviews, obviously voters do notice."

I agree with your general point, blaxx, but this doesn’t seem like a year with a consensus critical darling. It’s easier to find reasons why shows won’t win than why one will.

malcs98 said: "But the question even though Titaníque is at the top of the leaderboard, does that mean it will win Best Musical come TONY night?"

Yes but do we really care that much this year about the Best Musical Tony race? Even on this thread, the enthusiasm of those that are happy The Lost Boys got better reviews than expected seem somewhat muted. It feels, with most of the season's new shows, we're enthused out of habit, not excitement.

These reviews are about what I expected. The tonal shift in Act II was a stumbling block for a lot of the mixed to negative reviews. I can't disagree, but I still liked it. Horror often gets a bit silly in that third act, but that's going to feel a lot different as a live performance with high ticket prices.

trentsketch said: "These reviews are about what I expected. The tonal shift in Act II was a stumbling block for a lot of the mixed to negative reviews. I can't disagree, but I still liked it. Horror often gets a bit silly in that third act, but that's going to feel a lot different as a live performance with high ticket prices."

I hope the creative team takes what was said about the tonal shift and uses it as constructive criticism and applies it when reexamining the show for other productions (national tour, West End, etc).

Jordan Catalano said: "Kind of amazing that for a vampire musical, there have (so far) been no negative reviews. Some mixed yes, but no pans. I think that alone is a MAJOR win for this production."

How The Lost Boys Breaks the Vampire Musical Curse

https://davidcote1.substack.com/p/how-the-lost-boys-breaks-the-vampire

Hardest to gauge: the coveted target audience for Lost Boys, beyond the fingers-crossed expectation that it's large and diverse. Another show with a brand title: I would've thought Gatsby had maybe 6-9 months; the reviews were abysmal and it had zero participation at the Tonys. Yet here it is, still playing. It is only intermittently on TDF.

The Lost Boys is a curiosity in terms of definitive demographics: those who saw it in the cinema are all cresting over 60 now, some over 70 (a good thing; they buy tickets to Broadway with disposable income). Yet the show is pitched to a Gen Z crowd, presuming that its classic characterization is tethered to a long life on DVD and streaming. Maybe that's the case, and maybe the title alone and log line give it a timeless vibe.

What's the nut? Apologies if it's posted in the other thread; haven't seen it.

I honestly think the middle aged moms (and dads?) are going to be the biggest unexpected audience for this and they are going “Wild” for it. So anyone born 77-84 ish … Many have tweens who can’t go alone - so don’t discount this for that 10-14 age and then teens of course.


I actually see “Wild” charting as some kind of mid-life female Anthem. They better release a single soon or the Santa Clarita sessions will chart.

So that means Xennials, Millennials, Gen Z and yes Gen Alpha are all key audiences.

I saw the movie after I went and was reminded that I actually saw the movie as a “kid” and totally adored Kiefer Sutherland.

bear882 said: "blaxx said: "Kad said: "Reviews are only one aspect of what determines Tony winners. There are 800-odd voters and critics make up a statistically irrelevant part of that body and frankly reviews a whole don’t matter much unless there is overwhelming consensus in either direction, positive or negative. Plenty of very well-reviewed shows and performances havegone home empty handed; plenty of shows with adequate reviews have taken home big prizes."

I disagree. Moulin Rouge as a pandemic exception, most if not all Best Musical Tony winners in recent years have been critic darlings.

It's extremely hard to find a winner that didn't have heavy influence from its great reviews, obviously voters do notice."

I agree with your general point, blaxx, but this doesn’t seem like a year with a consensus critical darling. It’s easier to find reasons why shows won’t win than why onewill."

Just saying, the past couple decades have shifted to reward the most critically praised shows, instead of the most commercial, which was a trend pre-millenium.

But I agree, what a mediocre season for musicals, just depressing. Generic, bland and unoriginal.

Wish some years could be deemed unworthy of a winner and move on.

CoffeeBreak said: "Yes. #4 out of the 6new musicals this season."

This is true, but the top four are very much in a tight bunch, with only a 1.9-point spread among the four of them. (And thank you, honestly, for compiling them.)

blaxx said: "I'll believe it when a single vampire musical makes a singlepenny back. Until now, I'm sadly sure the curse continues."

With such a small sample size, it's not really possible to infer any meaningful pattern. If you picked three or four musicals at random from the entirety of Broadway history, there's a pretty decent chance all of them would be flops. I'm skeptical that The Lost Boys (which is my favorite new musical of the season) will end up making a profit, but I'm even more skeptical that it will have anything to do with the fact that it's about vampires.