If you are searching for a thrilling, bloodsucking theatrical experience, The Lost Boys is a production that absolutely needs to be on your radar.

Matthew Murphy / Via AJM Public Relations

Pictured: LJ Benet and Maria Wirries.

I arrived at the theater completely blind (and yes, I’ve already added the 1987 vampire classic to my streaming watchlist), uncertain of what the stage adaptation would hold. Within the first few minutes, it was evident that this was a landmark production. Blending gravity-defying spectacle with a raw ’80s rock aesthetic, The Lost Boys establishes a unique identity in the Broadway landscape.

To celebrate the official Broadway opening of The Lost Boys, I met with the visionary director Michael Arden to explore how he transitioned this beloved cult favorite from the screen to the stage.

Note: This interview has been edited for length and clarity.

I attended the matinee a few days ago and was absolutely floored. When the news first broke that The Lost Boys was being developed as a musical, what was your initial reaction?

Michael: I think my first thought was, “A vampire musical??” I wasn’t entirely sure what to make of it, but that uncertainty is usually a sign of a great idea. It suggests there is a creative path that hasn’t been fully explored yet.

I was immediately drawn to the youthful energy of the project. It isn’t just another story about ancient vampires; it’s a narrative about family and the universal desire for young people to find where they belong. Those themes have always resonated deeply with me. It felt like a massive opportunity to create something that could truly sing—something scary, sexy, and pure rock and roll.

Matthew Murphy / Via AJM Public Relations

Company of The Lost Boys.

You are currently wearing multiple hats as the director, co-lighting designer, and co-producer. What does a standard day look like when you’re managing so many moving parts?

Matthew Murphy / Via AJM Public Relations

Pictured: Michael Arden and Jen Schriever.

Michael: It has been an incredible experience to approach the direction from a lighting and production standpoint simultaneously. These elements are deeply intertwined. It’s certainly exhausting, but I thrive on it.

A typical day right now involves script meetings from 8 a.m. to 9 a.m., followed by a block focused on lighting design, technical adjustments, and notes until noon. I take a quick thirty-minute lunch break, and then we dive into rehearsals with the actors to implement changes from 12:30 p.m. to 4:30 p.m. Performance notes usually wrap up around 5:30 p.m.

In the window before curtain call, I meet with the cast, plan out the next day’s schedule, and prepare for the evening. I watch the performance, hold a post-show meeting, followed by a smaller production huddle, and usually get home around 1 a.m. to start the cycle all over again.

Michael: It is a full day, without a doubt. Sundays are my essential time to recover and process everything we learned during the week. Because we didn’t have a traditional out-of-town tryout, we are essentially refining the show in front of live audiences. It’s a wild process, but the energy is electric. The entire team is fully committed.

The Lost Boys is such a technically ambitious production, particularly the lighting [co-designed by Tony-nominee Jen Schriever and Michael] and the set design [by Tony-winner Dane Laffrey]. What was one significant creative hurdle where you questioned how it would come together?

Michael: The flying sequences were definitely the biggest challenge. We are utilizing flight paths in a way that is rarely seen in traditional theater; our tracks are set at various angles and actually intersect with the scenery. The whole stage works like a Rubik’s Cube, and the logistics of ensuring nothing collides are immense.

Safety is always the primary concern. We have deep traps opening in the stage floor and complex automation. Ensuring the safety of every performer has been the most time-intensive and critical part of the entire technical process.

Matthew Murphy / Via AJM Public Relations

LJ Benet, Ali Louis Bourzgui, and the company of The Lost Boys.

Was there a specific moment during development where the vision finally clicked into place?

Michael: There is a specific sequence in Act 2—a nightmare number titled “You Belong to Me.” It is incredibly intricate and involves the full cast. I remember being in the middle of tech rehearsals and thinking, “This is exactly the atmosphere I wanted.” It felt sexy, scary, tragic, and haunting all at once. That was the moment I knew all the disparate elements were working in harmony.

Your portfolio includes a diverse range of acclaimed productions. Is this a show you could have successfully helmed earlier in your career?

Matthew Murphy / Via AJM Public Relations

Pictured: Dane Laffrey and Michael Arden.

Michael: Absolutely not. This is easily the largest and most complex project I’ve ever led. However, I can see the influence of my previous work throughout the show. You’ll find echoes of Spring Awakening or Maybe Happy Ending in the automation, and the ensemble dynamics remind me of Parade.

I’m reaching into my “toolbox” from past shows, but every project is a new beast. I never want to repeat myself. The Lost Boys feels like a powerful culmination of everything I’ve learned, blended into something entirely new.

The score features heavy ’80s rock influences, which felt very authentic. You collaborated with the band The Rescues—how did you establish the sonic identity of the show?

Matthew Murphy / Via AJM Public Relations

Pictured: LJ Benet, Ali Louis Bourzgui.

Michael: Their musical style is anthemic and theatrical, which perfectly matches the scale of this story. I’ve wanted to collaborate with them for a long time because their sound is just so cool and emotional.

The challenge was capturing that iconic ’80s sound without falling into parody. We wanted to evoke the best parts of that era while ensuring the music feels current and fresh. Balancing the tone is the hardest part; the show is simultaneously a comedy, a horror story, a romance, and a family drama. The Rescues have done a brilliant job evolving the score through countless rewrites to create a world that feels unlike anything else on Broadway.

Do you have a personal favorite track from the production?

Michael: It shifts daily! “Belong to Someone” is a perfect piece of songwriting, and I love how it functions in the show. “Wild,” which Lucy sings in Act 2, is another highlight, along with “If We Make It Through the Night” and “Superpower.” It’s truly hard to pick just one.

The Emerson family, portrayed by Shoshana Bean, LJ Benet, and Benjamin Pajak, serves as the emotional anchor of the musical. What qualities were you looking for during the casting process?

Matthew Murphy / Via AJM Public Relations

Pictured: Shoshana Bean, Benjamin Pajak, and LJ Benet.

Michael: They are all phenomenal artists. It was vital that they felt like they belonged in the same universe while remaining distinct. LJ Benet brings that necessary, brooding intensity to Michael; his singing and acting are so effortless that he brings a grounded reality to the stage.

Then you have Shoshana Bean, who is incredibly connected to her craft. She is authentic, loving, and has a no-nonsense quality that defines the character of Lucy, plus she has impeccable comedic timing.

Benjamin Pajak is a literal one-in-a-million talent. He’s only 15, yet he commands the Broadway stage with ease, handling both the big laughs and the heavy dramatic beats. They are all stars, but their selflessness as an ensemble is what makes them special. When they are together, you forget you’re watching a musical—you’re watching a real family navigating a trauma. That bond exists offstage just as much as it does onstage.

Looking at the industry on a broader level, what does the medium of theater mean to you today?

Matthew Murphy / Via AJM Public Relations

Michael Arden.

Michael: I believe theater is essential. It’s a mix of art, spiritual connection, and community service. It remains one of the few places where people gather to celebrate human ingenuity in real-time. Every performance is a testament to human collaboration.

Audiences can be changed on a molecular level by the literal vibrations of the music and the shared emotional experience. Being able to sit in the dark and laugh or cry with a complete stranger is powerful. In a world that often feels fractured, theater creates a bridge. We share these stories to feel less alone and to foster empathy.

Finally, what is the core message you hope audiences take home from The Lost Boys?

Michael: I think the essence of any great vampire story is acknowledging the brevity of life and finding gratitude in it. Despite our mortality, we have the choice to live fully every day. We can choose to step into the light, which requires the grace to forgive ourselves and others.

We have a collective responsibility to care for one another. Family is a much broader concept than just blood relations; it’s “Family” with a capital F. I’ve always tried to impart that sense of connection through my work, and I hope this show achieves that for our audiences.

Thank you, Michael, for this incredible behind-the-scenes look at the making of The Lost Boys!