The Rescues

Three solo careers that stopped competing

The Rescues came together in Los Angeles in 2008 out of a set of careers that were not going anywhere fast on their own. Kyler England, Adrianne Gonzalez — who now works as AG — and Gabriel Mann had all met on the city's singer-songwriter circuit, where each was playing their own material to rooms that did not reward it much. Rob Giles made a fourth. Three of the four were Berklee graduates: Giles in 1996, Gonzalez in 1999, England in 2000.

Every member wrote and every member played several instruments, which is the practical reason the band sounds the way it does. The records are built on three- and four-part vocal harmony rather than on a single frontperson, and the arrangements pass lead lines around. England, talking to Berklee's alumni magazine in 2011, put the appeal of it plainly: they all had solo projects and other work, but the band was a different kind of creative outlet. Giles has since left and is listed as a past member; the group has worked as a trio of England, AG and Mann for years.

None of them gave up the day jobs. Mann has a parallel career as a screen composer, with credits including ABC's Modern Family. England and AG write and produce for other artists.

Four albums and a decade of placements

The catalogue is compact. Crazy Ever After arrived in 2008, followed by a self-titled EP and then Let Loose the Horses in 2010, which came out through Universal Republic and did the most for the band's profile. Blah Blah Love and War followed in 2013 and a second self-titled album in 2017.

What kept the band working between records was synchronisation. Rescues songs have turned up in One Tree Hill, Private Practice, Grey's Anatomy, Pretty Little Liars and The Umbrella Academy — the sort of placement list that builds a quiet, durable audience without ever producing a radio hit. Pentatonix covered one of their songs on the 2021 album Evergreen.

That is an unglamorous but specific kind of expertise: writing songs that have to carry someone else's scene, in someone else's voice, to a length and shape set by someone else. It is also, as it turned out, a reasonable apprenticeship for musical theatre.

August 2023: the vampire job

The approach came from the director Michael Arden, who had been listening to the band for roughly ten years and put their name to the producers of a stage adaptation of Joel Schumacher's 1987 film The Lost Boys. The band's first instinct, by their own account, was that the offer could not be real. They read the pitch deck and took it.

Writing began in August 2023 and carried on through revisions right up to and into the Broadway preview period. The book is by David Hornsby and Chris Hoch. Mann and AG co-orchestrated the score with Ethan Popp, aiming for an anthemic 1980s feel without abandoning the band's own sound. The band described the four-year process as a boot camp, and were candid about what was hard in it: handing songs over to other performers, and subordinating a good tune to the story's needs. Speaking to TheaterMania in March 2026, AG said they could now officially call themselves part of the theatre community; Mann called the whole thing one gigantic trust fall.

Songs from the score include "Hurt a Little", which uses an ear-piercing as its central image for the relationship between Michael and Star, plus "Have to Have You", "Belong to Someone", "Wild", "No More Monsters" and "Secret Comes Out". An industry-only presentation was given on 14 March 2025, and the band previewed material in a club setting at Joe's Pub before the show reached Broadway.

Mixed notices, two nominations

The Lost Boys began previews at the Palace Theatre on 27 March 2026 and opened on 26 April. It runs two hours and 35 minutes with one interval, and it is a large piece of stagecraft: a three-tiered framework upstage, a two-storey house that descends from the ceiling, and performers who flip, float and fly.

Reviews landed mixed to positive. BroadwayWorld's round-up logged 27 notices at an average of 7.8, with 17 positive and 10 mixed; Entertainment Weekly gave it a B+. Adam Feldman's four-star review for Time Out New York on 27 April 2026 argued that no other new musical of the season was as ambitious in scope or as spectacular in its stagecraft, singled out the score's standout ballad as a hybrid of 1980s epic rock and more modern emotional songwriting, and complained that the sound design was deafening. The score was where critics divided hardest: some credited the band with giving the show its drive and its choral harmony, others thought the songs generic and the writing the production's weakest element.

At the 79th Tony Awards the band were nominated twice — Best Original Score, and Best Orchestrations alongside Popp. They lost the score award to Cinco Paul for Schmigadoon!. The production took four Tonys: Ali Louis Bourzgui for featured actor, Shoshana Bean for featured actress, Dane Laffrey for scenic design, and Jen Schriever and Michael Arden for lighting, from a list that included Best Musical. The band also picked up Outer Critics Circle and Drama League nominations and won the Dorian Award for outstanding original score of a Broadway production.

The record of the score

The original Broadway cast recording came out on 24 July 2026 through Atlantic Records: 28 tracks across roughly 72 minutes, covering the show's 27 songs plus "Brother", an anthem cut during previews and restored for the album. The band produced it with Popp; Ian Kagey recorded and Richard Furch mixed. "Secret Comes Out" went out first as a single.

Describing the brief when the release was announced in May 2026, the band said they had set out to weave together heart, humour and horror — which is a fair summary of the problem a vampire musical sets a songwriting team used to writing for its own voices.

Where they stand now

The show is still running at the Palace with no closing date announced, which means the band's score is being performed eight times a week by other people while the band itself plays occasional one-off shows around it.

The most recent of those was on 28 September 2026 at Le Poisson Rouge in Greenwich Village, announced in mid-September and built as a hybrid: the band's own catalogue alongside the Lost Boys material, with cast members guesting. There is no touring schedule beyond these single dates — listings services currently show nothing further on the calendar — so the pattern for now is a club night in New York whenever the Broadway company can be gathered on a dark night, rather than a run of rooms across several cities.