{"id":1149,"date":"2026-06-01T21:10:43","date_gmt":"2026-06-01T21:10:43","guid":{"rendered":"https:\/\/relocationobserver.com\/?p=1149"},"modified":"2026-06-01T21:10:43","modified_gmt":"2026-06-01T21:10:43","slug":"the-lost-boys-director-michael-arden-on-honoring-the-cult-horror-classic-and-his-plans-for-happy-feet-broadway-musical-with-anthropomorphic-animals","status":"publish","type":"post","link":"https:\/\/relocationobserver.com\/?p=1149","title":{"rendered":"\u2018The Lost Boys\u2019 Director Michael Arden on Honoring the Cult Horror Classic and His Plans for \u2018Happy Feet\u2019 Broadway Musical With \u2018Anthropomorphic Animals\u2019"},"content":{"rendered":"
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\n\tLast year, Michael Arden turned a musical about two robots into a Tony Award winner for best musical. This year, he\u2019s taking on vampires.<\/p>\n

Read more \u2018Outlander: Blood of My Blood\u2019 Season 2 Sets Starz Release Date, Drops Tearjerking First Teaser<\/a><\/p>\n

\n\tThe Tony-winning director is at the helm of \u201cThe Lost Boys,\u201d a pricey stage adaptation of the 1987 cult-classic film. With 12 Tony nominations, including two for Arden himself (as a director and shared lighting design credit), the production has emerged as a frontrunner in several technical categories and become one of Broadway\u2019s most talked-about new shows. But it\u2019s also an expensive gamble, with a reported budget of $25 million. After all, the track record of shows based on vampires is truly frightening with everything from \u201cDracula, the Musical\u201d to \u201cLestat\u201d failing to draw crowds. Can \u201cThe Lost Boys\u201d break the curse?<\/p>\n

\n\t\u201cYou have to tune out the noise and listen to how people react in the theater,\u201d Arden says.<\/p>\n

\n\tA lot may depend on how \u201cThe Lost Boys\u201d fares at Sunday\u2019s Tony Awards, where it will compete for best musical alongside \u201cTwo Strangers (Carry a Cake Across New York,\u201d \u201cTitanique,\u201d and \u201cSchmigadoon!\u201d<\/p>\n

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\n\t\tSee all Tony Awards predictions\t<\/h5>\n

\n
Variety Awards Circuit: Tonys<\/p>\n

<\/span><\/p>\n<\/div>\n<\/div>\n

\nThis interview has been edited and condensed for clarity.<\/em><\/p>\n

\n\t\tWhat was it about \u201cThe Lost Boys\u201d that made you think there might be a musical here?\t<\/h5>\n

\n\tI received an inquiry via my agents from our producers about it. I hadn\u2019t ever seen the movie, so I immediately watched it with my husband, and thought, \u201cWell, this is silly and fun and not what I expected at all.\u201d<\/p>\n

\n\tI was a big vampire fan, but mostly of the Anne Rice persuasion. So to see this thing about sexy biker vampires that is kind of niche and culty, I thought, that\u2019s usually good fodder for musicals.<\/p>\n

\n\tUltimately, the heart of it was a story about a family trying to start over and stay together amidst the winds of change and growing up. What could be fun about it is that it didn\u2019t have to just be one genre. It could be comedy, romance, vampire thriller, horror. And that felt like something that could sing in a way like it was just off center enough.<\/p>\n

\n\t\tThe movie\u2019s cult-ness could easily tip into camp. How do you balance that?\t<\/h5>\n

\n\tIt all has to be based in emotional honesty. You can go see an incredible comedy, and the reason it works is because the characters believe what they\u2019re chasing after in a major way.<\/p>\n

\n\tWith this, it\u2019s literally life and death \u2013 or eternal life. The stakes, no pun intended, are already incredibly high. So it\u2019s about never letting it become melodrama or slapstick. It has to ride this line where both the drama and the comedy are based in honesty.<\/p>\n

\n\tIt\u2019s exciting to be in a theater and see 10-year-old kids loving it just as much as people in their 60s and 70s. Hopefully it\u2019s inviting everybody to dip into a genre that might not be their favorite, but by the end they realize all these things can coexist.<\/p>\n

\n\t\tHow do you honor the movie while still surprising longtime fans?\t<\/h5>\n

\n\tI think it\u2019s about honoring the movie, highlighting its best moments and letting people feel taken care of \u2013 that the thing they\u2019ve loved as a part of their lives is cherished by us.<\/p>\n

\n\tBut it\u2019s also making sure we\u2019re not bound to it. Theater is an entirely different art form, and it has different requirements. You need different things when you enter a Broadway theater and sit down for two and a half hours than you do when you\u2019re watching a movie for 90 minutes. Hopefully they\u2019re companion pieces.<\/p>\n

\n\t\tWhat did you learn from audiences when the show was still in previews, and what do you look for when you\u2019re watching a crowd react?\t<\/h5>\n

\n\tJust their honest reaction. You can tell when people fidget. You can tell when people aren\u2019t applauding like you hoped they would.<\/p>\n

\n\tI love standing at the back of the orchestra so I can get a peek at people watching the show. It\u2019s the most incredible thing to see people sit in silence when they lean forward together. We live in a world where so much of the time we are all on different paths and journeys, and then in the time of a play, you can mind-meld a group of people to laugh at the same time, gasp at the same time or \u2014 God forbid \u2014 feel something at the same time.<\/p>\n

Read more New \u201860 Minutes\u2019 Boss Will Grapple With Demoralized Staff, High Costs, Hard-Core Attitudes<\/a><\/p>\n

\n\tThat\u2019s my favorite thing anytime I\u2019m working on a show \u2013 a group reaction. We need to all feel things together.<\/p>\n

\n\tWe want to leave people with a challenge or a question they can take into their own lives. With \u201cThe Lost Boys,\u201d hopefully it\u2019s to remind people that we don\u2019t have a chance at everlasting life, and therefore we have to make every minute count.<\/p>\n

\n\t\tThere\u2019s often criticism of adapting existing IP. What\u2019s the upside?\t<\/h5>\n

\n\tIt\u2019s the creation of empathy. You go to the theater to see stories outside your own lived experience. Hopefully not too many people have been in the situation Michael, and his family find themselves in. But by the end you\u2019re like, \u2018Oh, that\u2019s me.\u2019 That\u2019s empathy in its simplest form.<\/p>\n

\n\tThe more disparate communities we can get into a theater, just helps build a stronger community overall. These might be robots, these might be vampires, these people might be living on an island ransacked by a storm, but I am like them, and therefore they are like me.<\/p>\n

\n\t\tThis is an incredibly ambitious technical production. Was there ever an effect in rehearsal that made you think, \u201cI don\u2019t know if we\u2019re going to be able to pull this off\u201d?\t<\/h5>\n

\n\tI mean, all of them. And they continue to be. We certainly saw stuff on stage and were immediately like, \u2018Nope, not gonna do that. Let\u2019s not do that.\u2019<\/p>\n

\n\tI want people leaving saying, \u2018I loved that story. I loved those people. I loved those songs.\u2019 I don\u2019t want them leaving thinking, \u2018Oh my God, the special effects were amazing.\u2019 Sure, that\u2019s great, but the effects have to serve the story.<\/p>\n

\n\tIt\u2019s always a balancing act. You have to really make sure: am I showing something off because we can, or is it actually an exciting way to tell the story that\u2019s going to make the audience believe in vampires?<\/p>\n

\n\t\tWhat\u2019s been the biggest challenge of making theater right now?\t<\/h5>\n

\n\tTheater is so expensive to make. We\u2019re not a big studio. These are three independent producers, and if you go out of town with a show, you\u2019ve got to take $5 million off your budget just to do that. Warner Bros. had the property, but this isn\u2019t \u201cHarry Potter.\u201d So we thought, let\u2019s put the money onstage and make this thing how we want it the first time [and skip an out of town tryout].<\/p>\n

\n\tNew York is one of the most expensive cities in the world, it involves a ton of people and unions, and since COVID it\u2019s gotten exponentially more expensive. So making sure you\u2019re still delivering quality when that\u2019s a factor has been the hardest thing.<\/p>\n

\n\tAnd now, everyone is able to be a critic because they have a phone in their hand. The process is different than it once was. It\u2019s not like you get to develop something, test it, and wait until the critics arrive. People are putting things on the internet at the first preview.<\/p>\n

\n\t\tThis isn\u2019t your first project this season. How has \u201cThe Lost Boys\u201d differed from \u201cQueen of Versailles\u201d?\t<\/h5>\n

\n\tThey\u2019re night and day in terms of what kind of shows they are and what they\u2019re about. It\u2019s actually really nice to get to move between worlds. I love the world of \u201cQueen of Versailles.\u201d I love getting to live in satire and documentary style, and then coming to this, which is so epic and moody and dark and also has slapstick comedy. I\u2019m grateful I get to work on projects that allow me to fully change clothes between them. I\u2019d rather have a blueberry and a strawberry than an orange and a tangerine.<\/p>\n

\n\t\tFinally, you\u2019re also working on a stage musical adaptation of \u201cHappy Feet.\u201d Can you tease anything about that?\t<\/h5>\n

\n\tIt\u2019s going to be so funny. I can\u2019t get through a reading of it without crying my eyes out. After spending so much time on a show that\u2019s about darkness, that show is going to be so much about light. Even just the color palettes. It\u2019s exciting. Anthropomorphic animals are something I haven\u2019t really done before. We love penguins because they feel so human. There\u2019s incredible puppetry in the show, and the music is every one of your favorite songs. Every artist we\u2019ve approached about using their songs has immediately said \u2018yes.\u2019 That\u2019s the power of the penguin.<\/p>\n

Read more Antoni Porowski Addresses the \u2018Queer Eye\u2019 Drama, Finding LGBTQ+ Community on \u2018Best of the World,\u2019 and Why He\u2019s Still \u2018Left With More Questions Than Answers\u2019<\/a><\/p>\n<\/div>\n<\/div>\n<\/div>\n","protected":false},"excerpt":{"rendered":"

Michael Arden, director of “The Lost Boys” talks about honoring the 1987 horror film and bringing “Happy Feet” adaptation to Broadway.<\/p>\n","protected":false},"author":1,"featured_media":1148,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[188],"tags":[1132,1133,229],"class_list":["post-1149","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-legit","tag-michael-arden","tag-the-lost-boys","tag-tonys"],"yoast_head":"\n\u2018The Lost Boys\u2019 Director Michael Arden on Honoring the Cult Horror Classic and His Plans for \u2018Happy Feet\u2019 Broadway Musical With \u2018Anthropomorphic Animals\u2019 - Relocation Observer<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/relocationobserver.com\/?p=1149\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"\u2018The Lost Boys\u2019 Director Michael Arden on Honoring the Cult Horror Classic and His Plans for \u2018Happy Feet\u2019 Broadway Musical With \u2018Anthropomorphic Animals\u2019 - 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