It’s pretty remarkable to consider that S. E. Hinton published “The Outsiders” when she was just 18 years old growing up in Tulsa, Oklahoma. That was 57 years ago; and the novel detailing the troubled lives of the young Greasers and the Socs (derivative of “Socialites”) remains a staple in school reading lists to this day. Its realistic depiction of teenage angst and gang violence pitting the rich kids versus the poor turned it into a young adult classic despite its literary shortcomings. It’s been criticized for its occasional cliches and contrivances which were readily apparent in the 1983 film directed by Francis Ford Coppola. And that’s why I expected the stage version to be a mixed bag. To my very pleasant surprise, as musical adaptations go this season, The Outsiders jumps to the head of the class.
Everything about this production feels original and dynamic. Directed by Danya Taymor, it’s a terrific collaboration highlighting all of the novel’s virtues while sidestepping most of the clunkier aspects. Many in the gifted cast are making their Broadway debuts; and the entire experience is enhanced by a creative team marked by youthful energy. And while you might think a story about teenagers in the 1960’s would be hopelessly dated today, it’s not. Thanks to canny stylizing and an emphasis on character development, the effect is deeply engaging and universal.
It’s basically a coming of age tale featuring Ponyboy Curtis, a bright 14-year-old who’s orphaned and living with his two older brothers, Darrel and Sodapop. As Ponyboy, Brody Grant is quite a find. He’s so thoroughly invested in the role, it almost doesn’t matter that his vocals aren’t always clear. I doubt it’s intentional but as a young insecure teen, it fits the part.
[Read Frank Scheck’s ★★★☆☆ review here.]
Hinton uses the framing device of a journal which Ponyboy is writing about his life as a Greaser in Tulsa. Of the three brothers, he’s the one with a future. Cliched perhaps but his appreciation of literature and poetry, quoting Robert Frost’s “Nothing Gold Can Stay” was all part of Hinton’s effort to counter the Greaser stereotypes.
Darrel, the oldest brother, is played by Brent Comer. He sings beautifully alongside middle brother Sodapop, the ripped Jason Schmidt who’s a lot more than eye candy. The three of them convincingly deliver a stirring portrait of a family split at the seams.
Much like West Side Story’s Sharks and Jets, The Greasers and Socs are constantly battling. The Socs have money, better clothes and cars. The Greasers have little more than each other and they are a close knit fraternity.
Ponyboy’s best friend is Johnny Cade. Sky Lakota-Lynch, as a sweet kid from a very broken home, is heartbreaking. The one female lead in the story is Cherry Valance, a Soc who breaks ranks once she discovers that Ponyboy is sensitive and smart. Emma Pittman, possessing a crystalline voice, is lovely in the role.
In the movie, Matt Dillon stands out as Dallas, the resident leader of the pack and hardened delinquent just out of county lock-up. In the musical, he’s played by Joshua Boone. He’s clearly a strong actor with a great voice but the role requires more danger than the stoicism he projects. Dillon exhibits a charisma on screen that makes him a natural leader despite his recklessness. That quality is lacking in Boone’s performance.
The plot is thin but to the credit of book writers Adam Rapp and Justin Levine, the focus is on the relationships; the librettists provide a lot of backstory and intimate exchanges which were largely missing in the film version. Here it’s quite heavy and moving, particularly involving Ponyboy and his brothers who are struggling to hold what’s left of their frayed family together. Darrel, described as somewhere between an older brother and father, sings:
I keep treading water but sink like a stone.
Key to the success of the production is the excellent score composed by Jamestown Revival (Jonathan Clay & Zach Chance) along with Justin Levine who’s got a huge hand in the show, additionally credited with Music Supervision, Orchestration and Arrangements. Each song is woven seamlessly into the narrative. The opening number “Tulsa ’67” is a perfect scene setter. And that’s followed by the upbeat “Grease Got A Hold”, in which Ponyboy is gleefully inducted into the Greaser gang. The songs are an eclectic bunch, tuneful and soul-baring when needed. My favorite, sung by the brothers, is an exquisite ballad, “Throwing in the Towel,” with the lyrics:
I know your head is full of doubt
But brother that’s what love is all about
Don’t go throwing in the towel.
The staging is another huge plus. Director Taymor has established herself as a worthy heir to her Aunt Julie’s stellar career. She keeps the action moving with flair and gritty authenticity. And like her aunt, she’s innovative, making clever use of simple objects. Planks and tires are just about all the props she needs to create the Tulsa landscape – from a drive-in movie theater to a train to a pond filled with water. A broken down car parked stage left serves as bed, concession stand, playground, you name it.
Add to all this, thrilling dance and fight choreography under the direction of Rick and Jeff Kuperman. The brothers were happily given free rein to ply their exceptional skills. With tremendous athleticism, their dance movements are powerfully evocative. The climactic rumble between the warring gangs is an extended ballet that’s as fittingly violent as it is graceful.
That rumble scene is staged amid a drenching rainstorm. Credit AMP featuring Tatiana Kahvegian for the marvelous “Scenography.” The entire technical design team deserve bows for their contributions combining special effects, lights and sound to artfully suggest settings featuring a raging fire, a drive-in complete with giant screen, and a church high on a hill, among so much else.
The show appeals on so many levels. If the catchy songs, dynamite choreography and heartfelt sentiment don’t grab you, all those hunky young men displaying gobs of talent should do the trick. Injecting a healthy dose of testosterone is always hard to resist. But that’s just a bonus. The Outsiders is an emotionally and viscerally satisfying work. There is much to savor and we have a new generation of Broadway talents to thank for it. They are gold. Just hope they’re here to stay.
The Outsiders opened April 11, 2024, at the Bernard Jacobs Theatre. Tickets and information: outsidersmusical.com
