It is no big secret that my favorite new musical of last season is The Lost Boys. I think my review of the show covers the many reasons why, including my admiration for the score by The Rescues. Now having listened to it a few times, my feelings for it have only deepened.
Cast Recording Review:
The Lost Boys
The Act One Tracks
As long time readers will tell you, I'm pretty old school when it comes to my cast recordings - at least as far as format goes. I started my collection with the only available format at the time, vinyl LPs (which are still my favorite), and graduated to some cassettes of favorites when my first car had a tape deck. Then I went full into the CD revolution, with its clean sound, easy track search, and capacity for nice packaging, with booklets full of notes, lyrics and production photos. In recent years, ordering a CD from Amazon has included a digital copy, and so I have several cast albums that way, too, though to date I have yet to listen to any of them.
But time marches on, and now I've reached a new bend in the road: a recording available only (at least as of now) in a digital format. And while the sound is terrific, and the track selection is a breeze, I hate that I have no notes to read, no lyrics to follow, and only "the cover" to look at while I listen. If ever there was a production that would benefit from such things, this is it. That lack of accompanying media is pretty much my sole complaint; otherwise, this is a first-rate OBCR.
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Here are some thoughts on Tracks 1-14, which represent Act One of the show:
Track One: "No More Monsters" - Lucy, Michael and Sam Emerson, and Ensemble
This opening number hits all the criteria for an exhilarating start to a show: it immediately sets the scene of where we are, where we are going and who will take us there. It is catchy throughout, with urgent piano that suggests that time is of the essence, and a full blossoming of the sound lushly orchestrated and filled in with stunning harmonized backing vocals. The lyrics also evolve, the urgency punctuated with simple, obvious rhymes as we find out what each character hopes to leave behind and later dreams of finding with this big move west. The lyrics are deceptively simple, a way of easing us into what we are about to see, and they drip with ironic humor - "death of me," "I've been through Hell," "sucking the life out of me." We are in on the joke knowing that this family ain't seen nothin' yet.
Track Two: "Lose Yourself" - Michael Emerson and Ensemble
The pulsing vibe of the electric guitar emphasizes Michael's anger and desperation to get out from under his family and strike out on his own. The lyrics and LJ Benet's vocal style here mirrors that. And the further he gets from home (and closer to the town) the orchestrations become fuller, with a nod to the 80s sound of Bon Jovi. In town, the ensemble in a menacing, but alluring unison join Michael in verbalizing all of his wants - they are welcoming, letting him know he can lose himself with them.
"Lose Yourself" blends into this song seamlessly as Michael gets swallowed up into the crowd enjoying a late night concert by The Lost Boys. The hard rock edge to this song elevates the sense of danger the group poses to the community; their sound plays to the crowd who seeks that danger and excitement. Ali Louis Bourzgui's breathy deep singing voice is seductive, and as the music shifts to a less dense but more mysterious tone, it seems that he is now singing directly to Michael. The focus then shifts to Michael's thoughts as he is instantly smitten with the vivacious Star (Maria Wirries), who in turn has locked into Michael's thoughts as well, as she realizes he will be an easy target - one she already feels the need to protect.
This is one catchy track. The combination of slasher film vibes and adventure hero motifs are the perfect over-the-top way to introduce the Frog Brothers. The included dialogue shows that this is a clever way to disguise some exposition, too.
Track Five: "Hurt a Little" - Star and Michael Emerson
Here is a great example of how The Rescues have managed to craft a song with a musical theater trope - the double meaning duet, with period perfect subtlety - 80's synth punctuating the simple guitar licks, and still making it sound modern. It's fun to revisit this one having seen the show because now it is easier to notice the character reveals of both Star (conflicted, protective) and Michael (rebellious, reckless). Foreshadowing in a deeper way...
Track Six: "Time to Kill" - David, Marko, Dwayne, Paul and Ensemble
I love this short number! Ali cranked up the breathy seduction in this singing to 10, and the rest of The Lost Boys harmonize with him in such a way that it really shows their mutual and necessary dependence on each other. This also contains the "Lost Boys Theme," a soulful wail that reeks of loneliness and resignation, while still being alluring. And that final crescendo!
Track Seven: "The Good Part" - Lucy Emerson and Ensemble
When we saw the show, this song was just recently added, so recent that the Playbill still listed the song that was there before it. I don't know the other, so I can't speak to whether or not this was a good choice, but does it matter? I mean, a chance to hear Shoshana Bean sing? Always a good thing, and boy do you get what you paid for here. Powerful acting, thrilling riffs, just like Ms. Bean delivers perfectly. And I appreciate that the urgency, clipped notes, and the slow steady build of the song mirror the opening number - the last time we heard from Lucy musically. This is a great way for the character to check in and show some growth, too. The references to film and video stores are clever, too.
Track Eight: "Now, Forever" - Star and Michael Emerson
What would an 80s show be without a power ballad duet? This one checks all the boxes of that genre and then some. It helps that both Benet and Wirries understand the assignment here, and that their voices blend perfectly and diverge perfectly, too. Every time I listen to it, I think about which 80s stars would sing the radio version.
Track Nine: "Lost Boy" - David, Michael Emerson, Marko, Dwayne, Paul and Ensemble
Michael finds belonging in a song ironically called "Lost Boy." They just had to include the motorcycle scene, and what a chilling way to do it. Bourzgui's sexy voice entices, Benet's voice soars with abandon, and the gang brings in the theme again, this time with even more power.
Track Ten: "Take My Heart With You" - David, Star, Marko, Dwayne, Paul and Ensemble
This song calls to mind religious hymns and incantations, and matches the moment in the story - Michael drinks the blood - in a haunting way. The a cappella harmonizing is jaw-dropping, and the seamless way it blends into...
...this song tracks perfectly as the night of initiation and ritual continues. The discord of the final harmony in this brief number is a startling reminder that danger lurks as Michael continues to be oblivious to what is happening to him. This blends into...
Track Twelve: "Hurt a Little (Reprise)" - Star and Ensemble
Star now being the observer, helpless to stop what is happening. As things slide into even more danger, the heavy rock guitars do the heavy lifting that builds to David's instruction to Michael...
Track Thirteen: "Belong to Someone" - Michael Emerson, David, Marko, Dwayne, Paul and Ensemble
The turning point song for our hero. He realizes what he needs. He sees it in The Lost Boys. And they show him the beautiful, freeing side of joining them. Just as the music begins to soar, so, too, do the boys. They fly in a sort of dream ballet. You, of course, can't see it, but you can hear and feel it. The orchestrations by The Rescues and Ethan Popp are simply exquisite.
Track Fourteen: "Secret Comes Out" - David, Star, Michael Emerson, Marko, Dwayne, Paul and Ensemble
The sequence starts to build with track Nine, and comes to a riveting and powerful conclusion to close out the act. Percussion driven and again almost ritualistic, the song addresses the inevitability of everything coming to light. For David, it is the need and desire for Michael to become part of his coven. For Star, it is desperation for finding a way out, and for Michael, it is blissful oblivion. The song ends with a question, "Do you know who you are?" and one has to wonder who they are singing that to. The final notes before the blackout are another discordant harmony...
This lengthy sequence of events calls to mind a similar sequence in a little show called Sweeney Todd. Evil draws you in there as it does here. What a way to end act one! I remember that euphoric rush as the blackout led to house lights up and the electricity that pervaded the entirety of the Palace Theatre.
Tap HERE to check out our review of the Act Two Tracks. (Coming next week!)
