THE LOST BOYS Reviews- Page 6

[MezzoDiva47]

Posted: 5/6/26 at 1:32am

djoko84 said: "MadsonMelo said: "So, I years the rush for the show is not great.

Im planning on seeing this on Thursday.

There are $44 tickets on Center balcony and $59 on orch partial view.

Any recomendations? Should I stick to rush?"

I went on Sunday and got center mezz last row for $59 and saw everything. It was actually a great seat and had no one in the seats next to me. I recommend paying as little as possible for this show because it's terrible. Go see Schmigadoon! instead if you haven't yet."


so

score one tony vote for the schmigadoon shill

 

[ErmengardeStopSniveling]

Posted: 5/6/26 at 8:29am

hayden6 said: "Has there been any word about a cast recoding? I saw this again on Saturday and am eager to listen to a few of thesongs again — the cast is fantastic"

I’m told they start recording in about two weeks. The company was just informed.

[theatergoer3]

Posted: 5/6/26 at 11:29am

MadsonMelo said: "So, I years the rush for the show is not great.

Im planning on seeing this on Thursday.

There are $44 tickets on Center balcony and $59 on orch partial view.

Any recomendations? Should I stick to rush?"

I was center balcony and the view was overall clear even if a bit far (only downsides are you miss a bunch of the stuff over the orchestra pit and can see a bit more of the technical aspects of the effects versus getting fully caught up in them), but for the price it was good. 

[SeymourInBrooklyn]

Posted: 5/7/26 at 10:34am

I was at Tuesday night’s performance, my second time seeing the show.

Just before curtain, Patrick Wilson and the other lead producers (sorry, don’t know their names!) each spoke briefly, thanking everyone for coming, acknowledging their gratitude for the Tony nomination haul, and encouraging the audience to go home and actually read through all the names of the people involved in the production. They also classily thanked all the original shows that have opened and closed this season and implored the audience to continue supporting Broadway. Lastly, they recalled seeing shows like Phantom, Les Miz, and Miss Saigon, and tasking the creative team with creating something on that scale and level of artistry with Lost Boys.

Phantom was my on-ramp into theater as a kid, and this production taps into that same super-stylized commitment to world-building that permeates every pillar of the design: lighting, sets, technical effects, sound, all of it. And I really want to emphasize that this isn’t just about being a “tech-y” show. What made it breathtaking to me was that the effects were all in service of creating atmosphere, not just saying “look what we can do.”

Speaking of the design, the flying/wire work is seriously impressive. The night i watched from the mezzanine, I genuinely couldn't see the wires at all. Even when I saw it from orchestra Row K on Tuesday, where they were naturally more visible, they still weren’t distracting and didn’t break the illusion.

Ali Louis Bourzgui as David is just delicious. This kid has charisma, uniqueness, nerve, and talent, and in my mind he is the fire burning at the center of this show. He’s created such a magnetic character from the inside out, right down to the insane speaking voice.

Shoshana Bean: I just love her, and it was really special being in that crowd on Tony nomination day hearing people go wild for her in her entrance and after 'Wild'. She makes the absolute most out of an underwritten role, though I’m not necessarily blaming the team because, if memory serves, the source material doesn’t exactly give them much to work with. She takes what could be a stock “sad single mom in an ’80s movie” character and gives her more humanity, edge, and humor. Her vocals throughout are such a joy, especially when layered into the larger ensemble sound. Her performance of “Wild” is terrific, though I’m still undecided whether the show fully needs it or if it’s there partly to flesh out the role. Either way, it’s unquestionably better for having her deliver it.

Some specific staging moments that really knocked me out:

• The opening sene, announcing out the gate the unique experience the show is delivering
• David’s first appearance in the opening
• “I Have to Have You” and the whole performance/moshing sequence
• “My Heart With You”
• The bridge/trestle sequence all the way through the end of Act I

And many, though certainly not all, of the songs really sore. I give a ton of credit to the performers and casting department here because these kids are really strong singers, and they elevate the better material tremendously.

Now for the meh. Spoilers below.

Act II, specifically the pacing, is where the show starts to wobble for me. There are so many carefully constructed beats in Act I establishing place, mood, and character, and then Act II suddenly feels rushed. The consequence is a noticeable drop in tension, stakes, and atmosphere, which are exactly the things that made the first act so strong. The big hunt sequence in the Emerson house, and especially David’s death, felt surprisingly quick and anticlimactic compared to how much attention and flair other sequences received. Honestly, even the Vampire Daddy’s death (blanking on the name) felt like it got slightly more weight than David’s.

I also really respect, and honestly admire, that the team wanted to flesh out Star and Lucy more as characters. Maria Wirries absolutely sells the hell out of “War,” but the song itself feels somewhat forced into the show. My suspicion is that it was partly added to help bulk up Act II.

And lastly, Michael and Lucy’s relationship didn’t track for me, specifically in how the show handles the abuse from Michael’s father. So much of the story hinges on Michael feeling alienated enough from his family that David and the Lost Boys can offer him this seductive sense of belonging, but whenever we actually see the family together, they mostly come across as loving, warm, and doing their best. Beyond fairly standard teenage angst, it became hard for me to fully buy into Michael’s level of disconnection and vulnerability. Relatedly, Lucy never really seems to grapple with the severity of what Michael experienced. She often behaves as though they simply left behind a bad marriage, not a situation where her son was being physically abused, and that disconnect made it feel at times like she was operating in a slightly different show.

This show isn’t perfect, but honestly, it was just exciting to see a production take a huge swing and unapologetically (per the producers and Arden) want to be an event. I don’t think there’s been something quite like it on Broadway in a while, and I’m not sure there will be again anytime soon.

Updated On: 5/7/26 at 10:34 AM

[EDSOSLO858]

Posted: 5/7/26 at 5:21pm

Today on GMA - LJ Benet, Ali Louis Bourzgui, Maria Wirries, and the company performing “Lose Yourself / Have to Have You”:

Shoshana Bean and Paul Alexander Nolan performing “Wild” (fast-forward to 29:30):