The claim specifies a running time of 'Two hours and 40 minutes, with one intermission' at the Palace Theatre. One web search result matches this specific detail, while others mention different running times or locations (e.g., 2 hours and 45 minutes for a different show). Since only one source provides this exact combination of details, it cannot be corroborated.

One web search result explicitly states the running time and location: 'Two hours and 40 minutes, with one intermission. At the Palace Theatre, 160 W. 47th Street.' Other web results mention running times or locations for different shows or theaters, but none corroborate this specific combination of time, intermission, and location for 'The Lost Boys.'

The claim regarding the running time (2 hours and 40 minutes) and specific location (Palace Theatre, 160 W. 47th Street) is reported in one web search result. Other web results mention different running times or different theaters, but none corroborate the exact details of this claim across multiple independent sources.

The provided evidence for this claim only contains general information about Broadway venues (Wikipedia) or unrelated MLB content. None of the web search results or Wikipedia entries confirm the specific running time (two hours and 40 minutes) or the specific location (Palace Theatre, 160 W. 47th Street) for the musical. The Broadway Palace Theatre is mentioned, but the runtime detail is not corroborated.

The claim regarding the running time (2 hours and 40 minutes) and location (Palace Theatre, 160 W. 47th Street) is directly stated in one web search result. Other web results mention different running times or different theaters, but none corroborate the specific combination of time and location provided in the claim.

The claim details specific set design elements (three-level crypt by Dane Laffrey) and lighting credits (Jen Schriever and Arden). These specific creative details are not independently corroborated across the provided web search results or Wikipedia entries, although the general existence of the show is noted.

The claim mentions specific details about the set design (three-level crypt by Dane Laffrey) and lighting (Jen Schriever and Arden). While web search results confirm Dane Laffrey designed multi-level sets for the Palace Theater for this show, the specific details regarding the 'three-level crypt' and the names 'Jen Schriever' and 'Arden' are not independently corroborated across multiple sources, making it single-sourced from the context provided.

The claim describes specific set and lighting elements (three-level crypt by Dane Laffrey, lighting by Jen Schriever and Arden) which are not independently corroborated by the provided evidence. The evidence is insufficient to confirm these specific design details.

While the general plot premise of the original film involves a family moving to Santa Carla, California, the provided evidence does not contain specific details confirming the plot point about 'a family of three craving a new life' or the specific combination of 'unsolved murders and misbehaving youths' as described in the claim, beyond general plot definitions.

The evidence provides general information about the musical's premise and characters (e.g., mentioning the 1987 film basis), but none of the retrieved sources specifically detail the character roles, ages, or specific actors/roles mentioned (Michael (LJ Benet), 17-year-old, Sam (Benjamin Pajak), 14-year-old, comic books).

While the evidence confirms the musical is about characters in the film, the specific details regarding Michael being 17 and seeking purpose, and Sam being 14 and obsessed with comic books, are not directly corroborated by multiple independent sources. The character names and general plot elements are mentioned, but the specific ages and detailed character descriptions are limited to the context of the review/source material.

The claim makes a specific comparison between the original movie's David (Kiefer Sutherland) and the musical's incorporation of music. While the web search mentions Kiefer Sutherland and the musical's staging, the specific assertion that the original David 'didn't croon a note' and that the musical 'eliminates the insanity of Dracula breaking out into a power belt' is presented as a singular narrative point without independent confirmation.

One web search result provides specific details about Kiefer Sutherland's character David not singing, but the musical incorporating music through instruments. This is based on the context of the original film vs. the musical adaptation.

The claim makes a specific comparison regarding Kiefer Sutherland's performance in the movie versus the musical's incorporation of music. While web search results confirm Kiefer Sutherland played David in the 1987 film and that the musical features music, the specific assertion that Sutherland 'didn't croon a note' and that the musical 'eliminates the insanity of Dracula breaking out into a power belt' is presented as an opinion/comparison in the web search results and lacks independent corroboration.

The claim about Kiefer Sutherland's original David not singing, but the musical incorporating music through instruments, is only present in the context of the web search results provided, and no other source corroborates this specific detail.

The claim makes a specific comparison between the original movie (Kiefer Sutherland) and the musical's incorporation of music. While the evidence confirms Kiefer Sutherland played David in the original film, the specific assertion that he 'didn't croon a note' or that the musical 'eliminates the insanity of Dracula breaking out into a power belt' is only presented in the context of the web search results and lacks independent corroboration.

The claim makes a specific comparison regarding Kiefer Sutherland's role in the original movie versus the musical's incorporation of music. While the evidence mentions Kiefer Sutherland and the original film, it does not contain direct, corroborating evidence confirming that he 'didn't croon a note' or that the musical 'eliminates the insanity of Dracula breaking out into a power belt' in the manner described.

The claim is based on a single web search result describing the difference between the movie David and the musical's incorporation of music. No other sources corroborate this specific comparison.