Despite their ubiquity in many realms of pop culture, vampires have historically fared poorly on the musical theater stage. But “The Lost Boys,” which opened at New York’s Palace Theatre on Sunday, seems poised to reverse the fortunes for undead bloodsuckers on Broadway ― thanks, in part, to a chilling performance by Ali Louis Bourzgui.

The New York actor and singer portrays David, a rock musician and the kingpin of a vampire gang in the coastal town of Santa Carla, Calif., circa 1987. When single mom Lucy (played by two-time Tony Award nominee Shoshana Bean) and her two sons, Michael (LJ Benet) and Sam (Benjamin Pajak), relocate there from Arizona, David and his clan vow to sink their teeth into the trio of newcomers.

Bourzgui, 26, had not seen Joel Schumacher’s 1987 film version of “The Lost Boys” when he auditioned for the stage adaptation, which features songs by the Los Angeles-based rock band The Rescues and is directed by Michael Arden, a two-time Tony winner.

Still, he said, “from the get-go, I could tell everyone had a clear vision of what they wanted, and that this was going to be something that was pushing boundaries and trying new things.”

At first, Bourzgui was considered for both Michael and David, but ultimately focused his energy on the latter role. Naturally, he looked to David’s film counterpart, played by Kiefer Sutherland, for inspiration. His characterization transformed to evoke David Bowie, Billy Idol and Scott Weiland of the Stone Temple Pilots, too.

“I’ve gotten a lot of chances to play the protagonist, the sweet soul,” Bourzgui said. “So it seemed like a great challenge to jump into a character who is innately evil on paper, figure out what makes them vulnerable and why they think they’re doing the right thing.”

As to why he feels the story resonates in 2026, Bourzgui added, “We’re asking so much about the human condition ... I feel like every society is facing some kind of fascist oppressor. There’s something about vampires that allows us to look at that through, like, a sci-fi lens. Also, the humans in our show are realizing they can create a family ― not just a blood family, but a chosen family ― where they accept in each other what makes them different, and they respect that and celebrate it, and I think that’s important.”

Musically, Bourzgui gets a standout moment with the Act I anthem, “Have to Have You,” a studio version of which was recorded with Guns ‘n’ Roses guitarist Slash as part of a three-song EP last October. He and his castmates also execute some dazzling aerial choreography and, in one scene, dangle upside down above the multi-level stage for a dizzying stretch of time.

“Your body can get used to anything if you do it long enough,” Bourzgui said, noting that he and his co-stars began stunt training about four months before rehearsals.

The Massachusetts native made his Broadway debut in 2024, when he starred as the title character in that year’s revival of “The Who’s Tommy.” Since then, Bourzgui has returned to the Great White Way as one of Reeve Carney’s replacements in “Hadestown,” and appeared in the New York Theatre Workshop’s production of “We Live in Cairo” off-Broadway. In addition, he’s begun to establish himself as a singer-songwriter, as one-half of the folk-rock duo Resident Lightweight.

In a season that has been challenging for new musicals, “The Lost Boys” is a critical hit. Last week, the show received a total of 11 Outer Critics Circle Award nominations ― the most of any musical this year ― including a nod for Bourzgui in the Outstanding Featured Performer in a Broadway Musical category. The show is likely to be considered in numerous categories at this year’s Tony Awards. Nominations will be announced next week.

As grateful as he is for the acclaim, Bourzgui is hopeful the impact of “The Lost Boys” will extend beyond ticket sales and awards.

“I think this show could really push Broadway and also tell an important message,” he said. “It’s a perfect example of how you can create a big spectacle show that has heart, with [creators who] actually care for the people involved. Those don’t have to be separate.”

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