As someone who was the same age in 1987 as the main characters in the new musical The Lost Boys, I really appreciate the show does not present the 80s as a joke with ridiculous hyper-reality versions of people who lived then. Instead, the fun and issues of the day are presented as hand-in-hand aspects of society. There are visual nods to the era - the neon of storefronts (a video store, for example), skateboarders with finger-less gloves, and, of course, the big hair and a variety of mullet styles. (Kudos to costume designer Ryan Park and hair/wig design by David Brian Brown for keeping flashy but real!) It doesn't shy away from the politics of the time - Reagan figures prominently, urban decay and the closing of manufacturing plants that caused it are an important plot point. And there is even room for 80s music jokes that we made at the time (joking about wearing sunglasses at night was something we actually did!). So from the outset, I have to applaud book writers David Hornsby and Chris Hoch for an authenticity that helps center the craziness of the actual story.
Based on the critically acclaimed and commercially successful film of the same name, the property is today thought of in nostalgic, cult classic terms. Yet, somehow, this stage version feels so much more substantial. Maybe it is because physically, this show is mammoth. Maybe it is because it is legitimately scary and full of amazing special effects. But I think it is really because the show gives as much space to the coming of age/family story as it does to the vampire thriller story. Here again the book writers have elevated the piece by making it about more universal themes. Here, The Lost Boys aren't just the vampires, but the two young brothers navigating a new life in a new city as well. That all of this intertwines so perfectly is because director Michael Arden is really great at finding and uplifting the humanity in a story in such a way that it doesn't get lost in all of the spectacle, just as he did with Maybe Happy Ending. For all the moments my jaw dropped at what I was seeing, there were just as many emotional connections that made me really feel something visceral. All of that said, The Lost Boys isn't a heavy piece to be contemplated for long. In fact, it is a thrill ride of a show that earns every gasp, spontaneous applause and roars of approval.
The story and characters don't get lost in all of the spectacle, but boy, is there spectacle! The elaborate and ever changing design is stunning, indeed, creating a virtually seamless cinematic feast for the senses. Don't mistake my use of the word "cinematic" for any lack of theatricality. No, there is an amazing only-on-the-stage feel to all of it. As designed by Dane Laffery (sets), Jen Schriever and Michael Arden (lighting), and Adam Fisher (sound), the stage is a kaleidoscope of images both sharply realistic and hauntingly fanciful. The nooks and crannies of the set fade in and out, with smoky, dangerous shadows. In fact, it is the murky lighting in the background that adds to the edge of your seat jump scares - you rarely see it coming! With elevator lifts throughout the set, including the orchestra pit, entrances and exits are always a surprise, and frequently jaw-dropping (the bridge scene...damn!). Not only do The Lost Boys have a kick ass concert venue and ride motorcycles, they have a seriously creepy lair. And let's not forget that they are eternally gifted with the ability to sleep upside down and to fly. Move over, Peter Pan, this flying (designed by Gwyneth Larsen and Bill Mulholland) is next level.
As the vampire fighting duo, The Frog Brothers, Miguel Gil and Jennifer Duka provide fun comic relief, even as they exude outsider and gender divergent energy. The joy of their performance is how they weave together the reality of being underdogs and the fantasy of their beloved comic books.
The Lost Boys - a rock and roll boy band if ever there was one - consists of Brian Flores, Sean Grandillo and Dean Maupin, who manage to be sexy, scary and hard rockin' all at once. All three are convincing as musicians, bad boys and vampires. Their collective allure is intoxicating, just as any bloodsucker should be. Band groupie/victim Star, a girl torn between her fate and saving others from the same, is played by Maria Wirries, a natural talent with an amazing voice, compelling presence and an effortless realness. Her vocals are phenomenal, and I look forward to her long, successful career.
The adults here are not clueless rubes as is often the case with teen centered drama. Instead, they are driven, if flawed people. As video store owner Max, Paul Alexander Nolan is a slick, too good to be true guy, who takes a dramatic turn at the end. It is interesting to watch him operate, insinuating his way into the family at the center of it all. I've seen Nolan several times, and this may be the best I've seen him - he is clearly enjoying this work. As Lucy, the newly single mom fleeing from an abusive situation, Shoshana Bean is impressive (her voice!) as we watch her character get stronger from admitting her weaknesses and learning from her kids. She is both mother and diva - the perfect Broadway combination.
The central characters are, in this telling anyway, the Emerson brothers, both fighting the demons of a painful upbringing, teen angst and each other. As Sam, the younger brother, Benjamin Pajak continues his streak of endearing characters and remarkable natural talent. His Sam is the people pleaser of the family, fiercely protective and enthralled by the super heroes of his beloved comic book collection. The evolution of his character includes him slowly realizing that he is queer, manifested as a super hero secret identity, naturally. His big number is "Superpower," complete with a rainbow of caped crusaders fighting an army of Draculas and a pair of Elviras (it doesn't get more 80s than that!). It is very funny and ultimately touching.
If you haven't guessed, I loved this show. Pure escape, thrills and chills and a terrific score are what I always hope for. The Lost Boys was all of that and more for me.
📸: M. Murphy
No comments:
Post a Comment