hi! i go by "a" or "toasty" and this is my musical theatre blog! i used to be in the musical theatre tumblr fandom a long time ago (like 2010-15) and dropped out to pursue life, but seeing as i don't one of those anymore i've made my return to tumblr! gimme a follow if you're interested in:
the lost boys (musical or movie!)
next to normal (any iteration tbh but we hate al*ce r*pley in this house)
hadestown
the haunting of hill house (or any other flanaverse stuff)
musicals in general (a strong breeze would convince me to watch a new musical tbh)
ajw books (the spirit bares its teeth and hell followed with us mostly!)
i also do art occasionally! aaand that's about all i got for now but i have more interests my brain is just fried haha! anyway um. yeah that's it see you soon
some observations from the lost boys 6/16 and 6/17
i was second row on stage right for 6/16 and first row all the way stage left 6/17 (matinee) so i got two very different views!
for the opening scene with officer vasquez on 6/17 david was pulled up a little too early so when the lights came on he was in the air but the officer was still on the ground, so david lifted him with his hand and brought him into the air to bite him (and it was actually really cool and worked so well)
during 'have to have you' when they sing "c'mon santa carla, give me what you got" star comes over to stage left and supernova props herself up to the stage on her arms so they can sing to each other... it was really cute
on 6/16 it took a little longer for david to get the earring on michael so michael whimpered TWICE đł
when max and pete interrupt 'time to kill' david was twirling the ends of his mullet he was sooo over it
marko being the first turned is kind of so obvious, he and david are very touchy with each other and marko seems the most confident when it comes to stepping up alongside david whereas dwayne and paul tend to hang back more
there is a lot of nonverbal communication mostly through eye contact between the lost boys, but watching their expressions it seems as soon as david says like "you got it... pete..." or whatever the lost boys all grin kind of devilishly like just from that alone, without even looking at each other, they know david's decided they'll kill pete
as pete closes up shop before the lost boys show up, david is silhouetted by the video max sign and he like flutters his fingers to make the sign flicker off it's so cuntyyy
during the bridge of 'now forever' different lights from different directions slowly turn on and light up star and michael as the crescendo builds until they're like literally in the middle of a star burst it's so beautiful oh my GOD the LIGHTING DESIGN of this show is crazy. sitting all the way on the side but front row had me appreciating the lighting so much
right as david is about to fall back after 'lost boy' during the bike ride, he gives michael a little salute goodbye that michael doesn't see bc he's locked in looking forward
on 6/17 when michael punches david there was soooo much vocal fry in david's line "i like you, michael!" like it was almost a growl oh my god? the pause was longer than other shows, everyone was dead silent, it was so tense and the delivery of that line reflected that energy
star is pissed when michael is trying to fight the lost boys post-ride/crash. like she's shaking her head and once the lost boys square up bc michael says he'll fight all of them star is ready to THROW DOWN she's clenching her fists and getting ready to jump into the fight and attack. she's gonna defend michael and fight alongside him oh my heart.
when david invites michael âhow would you like to see our home?â starâs expression turns to anguish, almost like a sinking dread. and after marko steps to david with his âare you sure?â look and hand on his shoulder, then he and star have a moment - star shakes her head and mouths âno,â but marko just shrugs at her with a little confusion
michael's expression is sooooo intense when he tells david "to the end." and their noses are basically touching like they are speaking into each other's mouths at this point
iirc ali mentioned he thinks david lost someone he cared about in the factory accident of the coronado and you can see as they tell the story to michael about the accident david looks really forlorn and sad
i wish i had words to explain how aliâs expressions contain so much depth and so many layers like i swear most of the time he has at least 3 different emotions expressed in it. but being second and front row i really picked up on the sadness more. like david is so sad like most of the show, even while the topline of the expression is something else. damn
when the lost boys talk to michael upon arriving at the coronado, when star is standing off to the side david walks up to her, holds her hand, and gets really close to say something to her. very secretively and intensely.
in general when david talks to star he gets visibly softer. he has so much tenderness with her. he holds her hand a few times which he doesn't do with anyone else
in 'belong to someone' as michael sings âi want a loveâŠâ michael reaches out for david and david extends his hand back, and his expression is so loving oh my god it hurts just to remember. and then michael lowers his hand and looks away and david looks like he's having his âoh.â moment like wow wow wow
when michael sings "i need a family that's gonna stick up for me" he clutches his bruise ohhhh it hurts me it HURTS
david signals with a flourish of his hand for the lost boys to start flying sort of one by one in 'belong to someone', which is interesting with how he also seems to "make" michael fly with hand gestures in both belong to someone and secret comes out
i just love how quickly david switches through personalities/expressions/etc. i particularly noticed it this time at the beach killing, david is grinning and being a sardonic little shit saying "we're just... hungry." and then the humor on his expression completely drops off
david licks the blood off his fingers after slitting her throat at the beach killing and the look in his eyes is Crazy. david has such sinister energy in secret comes out and this scene going into 'you belong to me' like that's when he feels truly villainous
during the song 'michael' when lucy sings âhave i lost you my beautiful son?â she looks up to where michael is standing in the bathroom. they have a moment of extended eye contact that holds so much melancholy, and then michael slowly looks away. OW OUCH
6/17 before 'war' when david begs star to feed, david presses his forehead against star's to say "your time is running out" you really feel that he's desperate, too, for her to take the last step
on 6/16 david like growl-shouted âMARKO WAS YOUR BROTHER!â but 6/17 was more his usual pained âMarko was your brotherâŠâ
star and michaelâs expressions at the beginning of 'no more monsters (reprise)' are so funny. they are weirded the fuck out by sam and the frog brosâ energy
okay so when david is staked, he reaches out for michael and mouths âmichael,â like in shock and disbelief. then he turns to look at star, down at her hand and moving like he might reach for it, mouth opening like he was trying to say something, before stumbling forward to fall onto the bodies that bring him down on the downstage elevator platform⊠insert [DAVID looks between his two loves] script line here. oof
davidâs insanely complex relationship to family and unity makes me absolutely bonkers crazypants btw. the fact that he sees himself as a brother, a father figure, and a potential lover makes me go absolutely bananas
Since the release of the cast recording for "secret comes out" I must yap, we go line by line and why it makes me feel insane. For convenience sake, we're adding a key because this is a long one.
So first of all we have the obvious parallels between becoming a vampire and the queer experiences. The whole transforming thing and being seen as 'other' is historically usually found in both kinds of media. It's nothing ground breaking to have vampirism be a metaphor for being gay. This is why the lost boys (1987) film originally resonated with its audience.
You got things you donât understand
But soon you will
Donât know how things got so out of hand
But soon you will
It's pretty widely accepted that David was turned unwillingly back in the 19th century. Forever stuck in the body of a young man, at the age where people generally start to question who they are. David did give Michael an out. He didn't fully explain what Michael was agreeing to, but he did provide two opportunities for him to leave. David sees a lot of himself in Michael. From a strained paternal relationship, to looking for belonging, but also looking for community. This aligns with queer people usually feeling like an outsider and looking for a place to belong.
David understands that this scares Michael as he's been in the same position. He offers answers to questions Michael doesn't even have yet.
Truth will rise up eventually
Youâll be who you were meant to be
When the secret comes out
I promise you, everything will become clear
When the secret comes out
The questions that haunt you will all disappear
And the daylight will fade
Oh, but be not afraid
The threat of being outed is a very big thing amongst queer youth and young adults. Hiding who you really are is exhausting. The daylight, obviously is that vampires can't go in the sun, but also represents Michaels life up until that point. Sometimes, to truly be yourself you need to leave your home. The boys (Paul, Marko and Dwayne) reassure Michael that it'll be okay. That he doesn't have to be afraid of being himself around them. They've each gone through the exact same thing and are a testament to it's survivability.
Additionally, the "be not afraid" also has it's religious connotations. Which vampires have always been seen as opposed to the church. The be not afraid can be linked to Gabriel telling Marie that her life is about to change. But she doesn't have to be afraid, it has all been mapped out and she will become who she was always ment to be. Just like Michael now finds acceptance with the Lost Boys.
David doesn't make many promises throughout the musical or movie. In most of his appearances he's either mincing words or outwardly lying. This is the most vulnerable (save for the closing number) that we see him. This is also reflected by his clothing. Exposed chest and torso, where he's most vulnerable. Also shows his ego as he at this point thinks he can't die (/not be killed)
Youâve been a prisoner for so long
With no way out
At the mercy of a hand so strong
With no way out
Your faith has been shaken
Your powerâs been taken
Itâs time that you take it back
It's very important that star says the first half of this. Star represents what Michael sees as a fresh start. She's promising him family and companionship. She references the abuse Michael faced while living with his father and how helpless that feels sometimes.
The faith refered to here, is faith in humanity and that things will get better. It's important that it's faith, and not hope used to describe this. Michael has never lost hope. This can be seen when he first visits the boardwalk, he's excited for a new start. He hopes it'll go better. His faith in people, however, is fragile.
In the transcript, it's shown that Michael and Star are both love interests to David. This can be reference to Michael feeling safter in a hetro passing relationship, and is thefore scared of Davids advances (and David does just want to eat him)
Star focuses more on Michael starting over and learning to move on. David, based on his own feelings towards Max, promises Michael power. Reassurance that he won't be put in the same helpless situation because he'll be able to fight back instead of avoiding it like star implies. It's why he's so insistent. He is practically begging Michael here to let him help het back at those who've wronged him.
Itâs a game of survival (Stop fighting a war you can't win)
Michael (Itâs timĐ” to give in)
As we've seen before, the boys understand Micheal's hesitance. They know how intense David can be when you're the focus point of his world. A game of survival can be linked to a hunt, or chase, as vampires are a predator above humans and halflings. Also, it can be surviving in general as a queer person. Bigotry kills. You have to know when you have to hide and when you can show who you are. The best way to think of it is the stonewall riots of '69.
David doesn't sing WITH them. He's aside. Telling Michael that the fight against being who you truly are is pointless. You can only survive if you accept yourself and embrace who you are. Be who you are openly and loudly so that your community can find you.
The boys harmonising on Micheal's name is similar to a sirens call. It's personal and promises everything he wants. Similar to IWTVs "come to me". It's hard to ignore when belonging is all you've ever wanted. 'giving in' has important phrasing because David isn't asking Michael to give up. Not stop fighting, but that he doesn't have to anymore. And when he has to again, he'll have family to support him.
When the sДcret comes out
Youâll feel the power like youâve never known
When the sДcret comes out
Youâll never have to be on your own
This is the clearest it shows up the difference between star and David's approach to Michael. Support vs Belonging. Michael is much more willing to accept star and follow her, because she is DIRECTLY offering him somewhere to belong. A home. David offers Michael a way to never end up alone in the first place. David is ultimately driven by his power over people. It's how he keeps them on a leash and ensures they stay in his life. Michael sees it as a trap rather than a gift. They're constantly talking past each other and misunderstanding just enough to both think they're on the same page and also be talking about completely different things.
Star sees Michael as more of a victim. Like her, before David. She is both the hunter and hunted. Calling him a sacrificial lamb to become a fully fledged vampire. David sees Michael as prey, a necessary sacrifice for stars survival. After the punch, he sees Michael's potential to be able to hold his own in their group. He's as protective of star as the boys are. It was the moment David started seeing him as a person not just food.
And youâll know who you are
Do you know who you are?
Part of you has always been on the run
Afraid of the man you might become
And itâs tearing you apart, the push and the pull
But this hunger inside is inevitable
Referring back to 'I have to have you', the first song of Davids in the musical, the tone has become more rushed. David is more desperate to convince Michael. He's feeling his grip on Star loosen and convincing Micheal to stay would mean keeping both of them. Failing would mean loosing them both.
I have to have you is a pretty way to lure in people to eat them. The crowd thinks they're being seduced when in actuality they're being hunted. "part of you has always been on the run" can be tied back to 'time to kill' where David states that he'll always love Michael, even if he's "the running kind"
Michael fears becoming just like his farther, as shown when he attacks Sam, hallucinating his drunken father in his place. This obviously scares Michael as his father is who he's been running from the entire time. Becoming a vampire, a violent creature, would be exactly what he viewed his father as.
The push and the pull is Michael's resistance to become what he sees as a monster. As the saying goes 'if there was an angry man in your house growing up, there will always be an angry man in your house'. Michael fears taking his father's place in their family, as the opening number showing how hopeful their family is to escape the cycle. The pull is Michaels need to community. Feeling like an outsider to his own family. Anger at Lucy for staying with his father. Resentment towards Sam as he thinks Sam was much less effected by their father's actions. Joining the lost boys means becoming everything he hates, but having a place he can finally be himself without apology. Star sees this as a bad thing he needs to saved from. David sees it as a necessary process for Micheal to accept all the parts of himself.
Itâs a hard reality that I canât unsee
Is the monster in me what Iâm meant to be?
The only two lines Michael individually has in this number, is him saying the quiet part out loud. Right after David's borderline anxious rant to convince him, Michael is still too unsure of himself. He doesn't have a solid sense of self and struggles with the idea of becoming someone he doesn't recognise. He doesn't have any set morals that can't be changed. He can be talked into anything. At this point, he becomes aware of how it could be to his detriment. He wonders if he's always been ment to be like his father, or is there still time to be someone else.
Any kind of truth can set you free
When the secret comes out
Michael
Michael
David doesn't sing with the boys. He repeats Michaels name. Calling to him personally to show he is wanted. That he is welcome. Invited in a sense, to join what David sees as one of the most important aspects of life. His family. Accepting his queer identity (becoming a vampire) will set him free from the internal conflict he's facing. That he is already accepted by his peers regardless. It's the one thing star and the lost boys agree on completely.
David using his name personally is also a shift from calling him 'boy' as he had been doing up until he got punched in the face. It's a sign he sees Michael as a part of the family now. A welcoming call of sorts.
When the secret comes out
In brotherhood be bound
Do you know who you are?
Do you know who you are?
The repetition of the question towards Micheal's identity shows Michaels growing anxiety. His reality is slipping and he doesn't know who he is anymore. He hides what he's becoming behind the sunglasses and runs away from home after almost harming Sam. It's a build up of uncertainty and fear of change.
The boys and Star repeat the phrase from "take my heart with you", which was the corner stone of convincing Michael to join them. To be part of 'the brotherhood' which usually has some connotations to a tie deeper than normal familial bonds. Unconditional and unbreakable.
Secret comes out reads very clearly as testament to self acceptance. When growing up with an unstable home life, it's hard to accept any part of you. The parts you do know for sure, you want to keep hidden. Vulnerability is as good as death.
The movement on stage is also very rushed. Michael feels trapped. Coming out can feel like a suicide mission, even when you're in an accepting environment. Being pressured into it, is terrifying.
For me personally, this is a very strong reminder of just how young Michael is. He's still just a kid, figuring it all out. The adults in his life have failed him. Lucy, unintentionally, but he doesn't feel comfortable talking to her. So he does what most kids do, and look for peers who seem to know more. David is older and gives the impression that he can guide Michael through this uncertain time.
Star appears steady and confident. Someone who knows what she wants and inspires Michael to try and do the same. His life in phoenix appears empty and unimportant as we don't know much about it. His new life shows him trying to start living for the first time. No one knows him so he can try to be himself. He sees himself in others and that's very attractive when he's been an outsider all his life. It's a big turning point in his story and was handled with great care.
I appreciate that the writers and LJ handled it so gently. It truly did the movie justice while expanding on how a late teen might cope with the fallout of a volatile home and self discovery. I could rant forever about it, but this is just the surface level breakdown. I'd love to do a deep dive into each song and a character study for each of the main cast.
girl stop looking at him with words unspoken đđ your complicated history with family, connection, and romance will be your undoing omg đđđ
and while im here another thing that makes me crazy bonkers bananapants about the lost boys musical is reagan's address to the public at the very beginning of the musical being specifically about family values and the echo of specifically this paragraph
i know its on the nose and it's like "yeah dumbass that's the theme of the musical" but it still makes me crazy that that's the FIRST THING IT OPENS ON and the parallels between max's whole deal and david's fundamental issues, michael's whole shit aside. ugh whatever i dont even care
david's view on the world and people around him makes me crazy bonkers bananapants what do you mean he sees michael as a son figure wrt the lost boys but also is in love with him but also a secret third thing
gonna start saying "secret fourth thing" to not only imply that I am aware of queerplatonic relationships but also to state the relationship in question isn't queerplatonic either but genuinely something else entirely
