Michael Arden

I think being able to acknowledge the silliness of the film and not take ourselves too seriously ever.

Or if we, you know, it was like a little bit of a balancing act this show.

If we ever, it's like we wanted to go to extremes, but we couldn't stay in extremes.

So we kind of have to vacillate and dance on the edge of the blade there a little bit.

And to be able to, because it's a musical, use music as a way to do that.

And to explore types of music, rock music, pop music, character comedy songs, things like that.

It just was a really exciting opportunity to kind of harken back to the big musical of the 80s that relied on its score to take you on the ride.

The rescue started writing this big score.

When I heard it, I was like, well, I know what we have to do.

We have to make a big show.

We have to like deliver this score in a way that seems like it is working in tandem with the production, the music and production.

There aren't that many new musicals where you can still come out of the theater singing the songs.

It's true.

And The Lost Boys has that, which is really wonderful.

Absolutely.

Yeah.

I mean, people are like singing the songs like going down the escalator.

Yeah.

The Palace, which is awesome.

You expanded the role of the mother considerably from the film for Shoshana Bean, who is just euphoric in this.