On June 7, several musicals will compete for Broadway’s biggest honor: a Tony Award. But of those that are nominated, only one is based on a cult-classic 1987 vampire film that starred Kiefer Sutherland, Corey Haim, Corey Feldman, Dianne Wiest, Jason Patric, and Edward Herrmann. And it’s deserving of every single award it gets and more.
We’re talking, of course, about the stage adaptation of Joel Schumacher’s The Lost Boys, which recently received 12 Tony nominations, including one for Best Musical. It’s a fantastic show that takes the iconic vibe and story of the original film and gives it more depth and passion than it probably ever deserved. The soundtrack by The Rescues is filled with certified bangers, and the scope and scale of the show is as big as anything you’ll see on Broadway.
At the center of all that is LJ Benet. Benet plays Michael Emerson, the older brother of the Emerson family who moves to the Murder Capital of the World and gets entangled with its vampires. Jason Patric originated the role, but here, in the musical, Benet takes it to another level. This is a much fuller, more complex Michael. And he has to be. He’s got the weight of the show on his shoulders.
Recently, io9 spoke with Benet over video chat to geek out about the show and all that it entails. We talked about what he drew from the movie, the show’s many iterations, the legacy of the brand, and so much more. The show’s soundtrack goes up for pre-order on May 29, and we’ll see how it does during the Tonys on June 7. But, for now, here’s our chat with Michael himself, LJ Benet.
This interview has been edited for length and clarity.
Germain Lussier, io9: I live in LA, but I flew to New York just to see The Lost Boys because I am such a big fan. And originally, when they announced it, I was like, “Really?” But then I was like, “Really!” Because it’s so great and you are so great in it, man. Now, this is an obvious question to start with, but you’re a younger guy, so when this first came on your radar, what was your experience with The Lost Boys?
LJ Benet: No, I hadn’t watched the movie, but any actor who prepares correctly watches the source material. So I just watched the movie, and you watch it, and you’re like, “Oh shit.” You realize why it’s such a classic. It’s Brat Pack, but it’s hot and sexy and cool.
io9: And did you audition specifically for Michael, or was it more general for the show?
Benet: You know what’s so funny? I think originally, before they had released anything, I went back into my Dropbox. I think I’d put a tape on for David. But this was like two and a half years ago.
io9: Oh, okay.
Benet: I think they were just like doing Zoom sessions at this point. And none of the music had been released. I don’t even know if they had The Rescues at that point. Maybe they did. I really don’t know. But I auditioned for that. I put another tape on for the workshop… and then I didn’t hear back for a while. And then all of a sudden, I got this call, “Hey, come in for a final callback for Michael.” I was like, “What? Where did this come from?” But then it turns out I had angels talking on my behalf. These executive producers that I worked for, Becky [Baeling] Lythgoe and Shane Scheel. They do For the Record, [an LA-based show that does] homages to directors, and so they have a show called Tarantino: Pulp Rock. I was in that one. And they knew the team that was developing The Lost Boys and were like, ‘You got to see LJ. You’ve got to see LJ.” They were basically like, “He’s this kid in LA that nobody knows about right now. And he’s good enough to do this.” And they were like, “Yeah, okay. If he comes out, we’ll watch him.” And so I flew myself out, and then I freaking booked it.
io9: That’s so great. So, I’m more of a movie guy than a musical guy. I love Broadway. I love musicals. But my love of this show specifically comes from the movie. What role does the movie play in your preparation? I mean, obviously, it gives you a general idea of what the story is going to be. Once you know you’re going to be Michael, you have Jason Patric’s performance. But tell me a little bit about what that relationship is in your head between the movie and the show.
Benet: I think the movie did such a good job. And this kind of transitions into The Rescues and what they were able to do. But the movie did such a great job of like these prolonged shots, like stills, of the characters’ faces. They looked great, but cameras are all about the eyes. And so you really got to see where the eyes were going in the movie, especially with Jason Patric. So you really get to see, “Okay, what is he thinking behind his eyes?” And now it’s the job of The Rescues to be like, “This is what’s happening behind his eyes.” So I watched the movie, and I tried to find these moments where the camera was just stuck on Jason Patric. And I was like, “Okay, what’s going on there?” Something’s going on there that no one knows. Only Jason Patric knows. And now I have to figure out what he’s actually thinking and why he’s thinking it and why he’s taking his time. Why is he not saying anything? Obviously, it’s in the writing. Obviously, they want this cool shot, whatever. But what is going through his brain character-wise? Why is he not talking? What’s so peculiar about this moment? And then why do I have to sing now?
io9: [Laughs] Yes.
Benet: It’s really interesting because film and theater are very different. Film is a lot about what you’re not saying that’s being told. And theater is, I’m going to tell you, and I’m going to make you feel this with me.
io9: Yeah. That’s an awesome answer. I love that. So then at what point does the movie just become an afterthought? Because eventually you have your performance. You have the songs. You’ve got the book. At a certain point, I assume, you put it aside. When does that happen? Or does it happen?
Benet: I don’t know if it does, to be honest. There are certain things where, every now and then, I’m just like, “Oh, yeah, this was in the movie.” So you want to honor what that was because it’s so classic. The minute you screw with that, people are like, “Grrr.” But at the same time, it’s making it my own and making it original every single night. So I don’t know if it ever leaves, but there is an interesting balance to it.
io9: Okay. Yeah. One of the things I love about the show is how much more we learn about the Emersons, right? About yourself, about Lucy, about Sam. What is your favorite aspect of Michael that we get to learn that’s not explicitly stated in the movie, but here we really get to dive into?
Benet: You know, I’m really grateful that [Chris] Hoch and [David] Hornsby, they gave me a lot to chew on with my dad. The movie touches on it a little, but with the flashback in the show, we really get to chew on it a lot more, which I’m grateful for because I think it gives a certain depth to Michael. Because like, if Michael doesn’t have this arc of redemption, which you don’t really understand in the first like 30 minutes of the production, you’re like, why is he being a dick to his mom?
io9: [Laughs] Yes!
Benet: All of a sudden, he’s leaving. He doesn’t want to help with anything. Great. He’s going after a girl. Oh my God. Cliché dickhead who just wants to go get a girl. Awesome. That makes sense. And then he lifts up a shirt and you realize, “Oh. That’s why.” That’s why he’s being a dick. That’s why he’s trying to distract himself with a girl. Something happened here. And I feel like a lot of people can relate to that aspect of putting on a façade or putting on a character to hide what’s actually going on underneath or what’s going on in their brain on a day-to-day basis. And no one really knows.
The other aspect of that is that everything with Michael is being chosen for him, as far as his family. His family’s being moved. That’s his mom’s decision. Now I have to go here. My brother’s being like this. Now I’m the man of the house. I didn’t ask for that. You know what I mean? And then all of a sudden, there’s this guy that I am looking at. He’s kind of like this older brother character. He’s kind of like a dad. He’s kind of into it. But I’m like, what’s happening right now? All of a sudden, he’s revealing things that I’m not even telling you. How does he know that? There’s no choice that Michael gets to make. And I feel like people relate to that as well, where it’s just like life just happening to you and at you until finally that thing happens where you have no choice but to finally just be like, “Okay, this is who I am. What I’ve always been. And now you’re seeing it. So take it or leave it.” And I feel like that’s what people can grab on to with that. What they gave me on stage to play versus the movie.
io9: Yeah, I’ve seen a movie a billion times. I could quote the whole thing. But when I watch it, I never feel like Michael is the main character because he is sort of flat. The show really makes you, Michael, the main character. And I love that about it.
Benet: Yeah, I’m grateful for that.
io9: Have you met Jason Patric? Have you talked to Jason Patric? Would you want to?
Benet: You know, I haven’t. But we had a co-producer who knows him, and he sent a really nice message, basically like hoping he can come and see the show. But he’s a busy guy.
io9: Makes sense. So, when I first heard about this, I was a little worried because movie musicals can be hit or miss, right? This obviously hit. I loved it. Tony nominations. It’s doing great. But was there a moment when you realized, “Oh, wow, this is a special show.” And even if it hadn’t gotten all these Tony nominations, you would have been like, “I’m super proud to be a part of it.” Was there a moment that you can point to?
Benet: [Long pause] It’s so funny. I really do my best not to glorify the moment. I was telling a buddy backstage, “This feels like we’re doing a high-budget regional theater camp production.” [Laughs] Just because the whole thing, our whole cast feels like a family. And you don’t get a cast like this, or a creative team like this, often when shows are this big. The pressure is so much. One wrong thing and the whole thing blows up, but it’s never felt like that, to be honest. It’s always just felt like something we get to do. Something that we’re privileged to do versus like something that we have to do this or [else], you know what I mean? So I don’t know if I’ve had that moment. I think it’s like, for me, honestly, those moments come when like Shoshana [Bean] brings like Billy Crystal backstage.
io9: Oh, sure.
Benet: [Laughs] You know what I mean? Somebody of a high caliber that I’m just like, “First of all, how do you know these people?” And then I’m like, “Wait, you’re Shoshana Bean, why am I even asking that? You own New York. Of course, you know all these people.” So that’s been the crazy thing is like you finish a show and all of a sudden there’s just like a celebrity backstage. Beyond that, it really just feels human.
io9: Have you moved past that point with [producer] Patrick Wilson? I was at a preview, and I saw him in the back, and I was like, “Oh my God, it’s Patrick Wilson!” But I know he’s been with the show the whole way.
Benet: Yeah, I see Patrick and I’m just like, “What are we doing today?” [Laughs] But at first, he was for me, like he was Raoul from The Phantom [of the Opera]. That was the first show I ever saw. So when I first got the call from him that I booked it, I was like, “Oh, cool, one second. Sorry, Patrick. The Phantom of the Opera is my favorite musical of all time. Raoul made me want to be like cool on stage. Like, thank you for that.” And he was like, “That’s great, LJ. Let’s get to work.”
io9: That’s awesome. Obviously, I love the music. I can’t wait for the soundtrack to come out. But there are big musical moments in the movie that the show only kind of alludes to. “Cry, Little Sister” is in there a little, for example. Was there ever a moment where you asked, or did you ever hear anybody talk about, why “Cry, Little Sister,” “I Still Believe,” or anything like that wasn’t in the show? Or do you have any thoughts on it?
Benet: I never had any discussions as far as why they weren’t in it. I can only assume. But I’m also like, I’m really happy that we’re not another jukebox musical. Not that there’s anything wrong with that. But it really says something to the fact that you can take such a classic film like this, and then put a little bit of originality behind it as well. So that it’s not so predictable. You know what I mean? And I feel like that’s what makes the musical such a fun ride. Because people know the movie, but then the people who watch the movie also get to experience something new as well. People like it, people hate it, I don’t know. Whatever. I think it was really brave, and it was really courageous of the team to go, “Let’s be original and let’s see what we can put on stage.”
io9: Yeah I was worried that I was gonna be mad those songs weren’t in there, but it works. They find the right balance of “There’s the sax man.” “Lost in the Shadows” looks exactly like it does in the movie. It works.
Benet: Yeah.
io9: I know that there were a lot of changes during previews because you guys kind of started in previews as opposed to opening at a small regional theater. What change do you think was the most important in that time that made for the biggest improvement?
Benet: Hm, such a great question. [Long pause] You know, it always sucks when you have to cut songs, and we cut a number of songs. But it helps move the story forward. You know, I’m a person of faith. I believe sacrifice is the context of miracles, and I think that we had so many wonderful songs in the show that never made it to the light of day. But I think those cuts make our show what they are today, and I think it makes it more enjoyable for us as performers, being able to get through the show, and I think it makes it much more enjoyable for the audience getting through the show as well.
We changed the ending a number of times. That’s made it really interesting. That’s probably one of the most pivotal things that we made changes to. I remember coming in one day, and it was a completely new ending, and I had like 40 new pages of sides. I was like, “What the heck?”
io9: The stuff in the house, you mean? At the end in the house with everyone?
Benet: Yeah, yeah, yeah. The house. Before, we were flying up in the air and it was this whole aerial battle thing. But I’m really happy with what we found because I think it was a lot more organic, instead of people expecting us to fly into battle. It became like Conjuring or Paranormal Activity all of a sudden. It was kind of scary and spooky. And we got to utilize lighting in a really good way.
io9: And it’s a way for the show to be original as opposed to the movie. I was expecting the flying because there’s already flying in the show, and the movie has flying in that scene.
Benet: Yeah, a lot of equity rules about what we can do with flying.
io9: We need to make sure everybody can perform the next night and doesn’t die.
Benet: [Laughs] Yeah, exactly.
io9: You talk about the ending. I was on my feet cheering for the show, and then those lights dropped, and we got that end-credit scene, which I’ve never seen before on stage. And it’s such a big thing now in pop culture. I’m curious, can you tell me a little bit about that decision, and then logistically, how does it work? Do you all just run off stage?
Benet: Yeah, I mean, lights go out, and we go off stage really quickly. That’s it. We’re holding each other’s hands, running stage left or stage right, making sure we don’t fall in holes because everything is being brought back up… but yeah, it’s cool. I think it’s really cool. I think it’s really fun, especially in this day and age, where a lot of the Marvel movies really got us with the post-credit scenes. I think it’s really fun that we brought that to the theater as well.
io9: And that was in and out, too, right? Is that something that got cut and came back?
Benet: Yeah, yeah, yeah. We had it. We didn’t have it. And then the audience loved it, so we brought it back.
io9: Yeah, I loved it. I loved it. When I was watching the show, like I said, I’ve seen the movie a billion times. So nothing really about the story overall surprised me. But when Max is revealed to be the head vampire, half the theater was in shock. Is that an every-night occurrence?
Benet: Yeah. Sometimes, it’s a little bit, sometimes it’s the whole house, which really makes me happy because it feels like this is bringing a whole new audience to The Lost Boys.
io9: Absolutely, and the last thing is, you have an amazing voice. The songs are so great. But do you have one in particular that you really love to crush every single night?
Benet: [Long pause] I do. It’s so funny. It’s two. Obviously, “Belong to Someone,” I love to do every single night. That song is so technical, too, in terms of like: I have to be on my mark, I have to get myself hooked up, I have to get myself into a robot, I have to fly off stage, I have to make sure my abs are tight, I have to support here, support there. It’s all these things that I just never imagined I’d be doing, singing “Belong to Someone.” And there’s actually a part of the show where Ali [Louis Bourzgui, who plays David] and I get to sing together, which we don’t get to do a ton in the show. But it’s the “Belong to Someone” reprise, and so we both get to like sing at each other and with each other for a brief period. And that’s one of my favorite things to do, just because I get to watch him, I get to be on stage with him, and I get to sing with him.
The Lost Boys is now playing in New York at the Palace Theater. Get more info here.
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