Interludes

VIEWPOINTS – THE LOST BOYS and BEACHES: The requisite film-to-stage adaptations arrive on Broadway, and they’re better than you’d think

• By drediman
• April 27, 2026
• No Comments

The last week or so saw the arrival of two film-to-stage adaptations to this relatively timid Broadway season. Despite some wide-ranging word of mouth, they’re actually better than you’d think. Read on for my thoughts on these two new musicals, both of which are hoping to attract tourists and mainstream audiences by capitalizing on the opportunity to reconnect with these cinematic cultural touchstones, and more generally, bask in 1980s nostalgia.

THE LOST BOYS
Palace Theatre
Open run

Last night, the spectacular musical adaptation of the 1987 cult horror flick The Lost Boys (HIGHLY RECOMMENDED) opened at the Palace Theatre. Featuring a driving and evocative pop/rock score by the L.A.-based band The Rescues (“Wild” and “Belong to Someone” from their score would make excellent singles) and directed with virtuosic flair by Michael Arden — rebounding nicely from The Queen of Versailles, which flopped in earlier this season in the fall — the vampire musical channels influences from its commercially successful musical theater forebears, namely Dear Evan Hansen (the heart-tugging single mother/child relationship), The Outsiders (the gritty glamorization of rebellious youths), Stranger Things: The First Shadow (the breathtaking special effects, playing up the 1980s nostalgia factor). While David Hornsby and Chris Hoch’s book is admittedly a mixed bag — a fascinating brew of sincerity and tongue-in-cheekness — it ultimately works through sheer will and determination, despite some jarring tonal shifts along the way. From a directorial standpoint, Arden has outdone himself, as evidenced by his tightly-paced staging that provides one theatrical coup after another. I was particularly impressed with how he uses the entire verticality of the Palace’s proscenium to create striking stage pictures on Dane Laffrey’s towering three-tier set — in addition to the breathtaking flying effects, there’s a functioning onstage elevator (complete with opposing counterweights), as well as a stunning replication of a railroad bridge. Completing the visual ravishments is the lighting design by Arden and Jen Shriever, which captures the story’s overarching moodiness and accents its thrilling adventure aspects with rock concert-like lighting. In the central role of the troubled teen Michael, Broadway newcomer LJ Benet gives a brooding and totally captivating performance; he’s got the look, unaffected presence, and voice of a natural matinee idol (think a sort of musical theater John Mayer). As his younger brother Sam, Benjamin Pajak turns in an exuberantly campy turn, despite at times seeming to be in a different show altogether (especially in the second act). As their mother Lucy, Shoshana Bean gives a dramatically convincing performance with stellar vocals. Of the vampires, the standout is certainly the swaggering and sensuous Ali Louis Bourzgui, whose inherent otherworldliness and delicious baritone wails fit the lead singer vampire David like a glove. The Lost Boys may not be perfect, but I can’t stop thinking about it.

BEACHES
The Majestic Theatre
Through September 6

Then over at the huge Majestic Theatre, you’ll find an unlikely occupant in the mid-sized musical version of Beaches (RECOMMENDED), which is based on the 1988 film — famously starring Bette Midler and Barbara Hershey, to tearjerking effect — and Iris Rainer Dart’s underlying 1985 novel of the same name. If you aren’t familiar with either the movie nor the book, the story chronicles the lifelong relationship between Cee Cee and Bertie, whose fierce friendship over the years is able to withstand vast differences in their socio-economic backgrounds, romantic jealousies, and finally a life-ending medical condition. Allegedly, the musical follows the novel more closely than it does the film. Indeed, right off the bat, you’ll notice some immediate differences from the iconic movie, namely Bertie’s name (in the film, the character goes by Hillary) and the trajectory of Cee Cee’s career (in the musical, she ultimately ends up hosting a beloved television variety show). Over the course of the musical, three sets of actresses play Cee Cee and Bertie — taking a cue from the musical adaptation of The Notebook — although in actuality, the middle version of the duo could have easily been excised without impacting the proceedings whatsoever. Having the ghosts of their youthful selves haunt the complications that would follow is a genuinely moving theatrical touch that poetically fills out the production’s visual tableaus (Samantha Schwartz as young Cee Cee is a notable spitfire). Admittedly, it takes a while for Dart and Thom Thomas’s book to settle into the storytelling, which makes Act One a bit of a bumpy ride. It also doesn’t help that the brassy Broadway sound of Mike Stoller’s score occasionally fails to track organically to the story. But once the narrative cogs finally fall into place, the second act thankfully unfolds with affecting and heartfelt directness that had many in the audience misting up, including yours truly, culminating in a beautifully earned “Wind Beneath My Wings”. As efficiently directed by Lonny Price and Matt Cowart, the musical actually looks and feels bigger than it actually is, thanks in large part to the smart usage of those ubiquitous video projections and the rigorous use of the ensemble (after its limited engagement on Broadway, the resourcefully designed production embarks on a national tour in the fall, which was always the plan). Leading the way is Jessica Vosk as Cee Cee, who sings and acts up a storm, easily carrying the show with a confident and larger-than-life turn. As Bertie, Kelli Barrett gives an appropriately subdued performance that’s devastating in the back half of the show as the character’s health takes a turn for the worse.