Theater Review by Carole Di Tosti . . . .
Making a Broadway musical adaptation from S.E. Hinton’s popular classic novel, The Outsiders, and Francis Ford Coppola’s titular film, seems no easy feat. However, the film does provide the visual structure to give the story and characters grist beyond Hinton’s narrative. Fifty-seven years after the high school teenager penned her work, The Outsiders – A New Musical, premiered at the Bernard B. Jacobs Theatre Thursday evening with great fanfare.
Incisively directed by Danya Taymor, from a tightly woven book by Adam Rapp and Justin Levine, and a wide-ranging variety of music styles and lyrics by Jonathan Clay and Zach Chance of Jamestown Revival, and Justin Levine, the show is a triumphant, thrilling must-see for Outsiders fans. Even those unfamiliar with Coppola’s film or Hinton’s iconic, young-adult novel of Americana will be engaged by this compelling musical, whose themes and characters still resonate with us today.
Rapp’s book further mythologizes the epic conflict between the “haves” represented by the elite Tulsa, Oklahoma Socialites (nicknamed “Socs”), and the “have nots,” the Greasers, who live in the broken-down, forgotten, east side of the city. The musical follows Ponyboy (Brody Grant) as he introduces himself and his setting (“Tulsa ‘67”) and explains the social and economic backstory of his life. He does this in sectional narrative flashbacks, interposed with dramatic, raw, emotional scenes that illustrate vital themes, symbols, and characters.
From Ponyboy’s storytelling and the parallel enactments, which find a poignant resolution by the conclusion, we understand how key players and events establish a turning point in Ponyboy and his brothers’ lives, and direct them toward forgiveness, redemption, and familial harmony. Importantly, Ponyboy learns self-love and acceptance of who he is as a Greaser, so he can then move on and make something of his life with the wisdom that love may solve a multitude of problems and mend divisions among communities that hate each other.
The book and music (with elements from pop, blues, rock, and country) are companionable. The lyrics are exceptional, though at times Grant, and Sky Lakota-Lynch, who portrays Ponyboy’s friend, Johnny Cade, didn’t always enunciate each word clearly. However, when singing their duets, “Death’s at My Door,” and “Stay Gold,” Grant and Lakota-Lynch beautifully reinforce one another, so the profound, poetic meaning is clear.
At the outset, societal and familial conflicts in Ponyboy’s world manifest when we meet his brothers, the humorous, good-natured Sodapop (Jason Schmidt) and forceful, commanding Darrel (Brent Comer). In Rick Kuperman and Jeff Kuperman’s vibrantly choreographed “Grease Got a Hold,” the mesmerizing Dallas Winston (Joshua Boone is terrific), leads the Greasers to identify their best traits and their raison d’etre. Dallas anoints Ponyboy into the tribe with his first hair “grease.” The occasion uplifts Ponyboy after Bob (Kevin William Paul), directs his Socs to cut Ponyboy’s hair and throttle him for daring to see a film on the west side of town.
When Darrel discovers Ponyboy’s transgression, he scolds him for his recklessness, illuminating the central conflict between Darrel and Ponyboy. Ponyboy misinterprets Darrel’s correction as hatred. Responsible for taking care of his siblings after their parents were killed in an accident, Darrel is resentful. Brent Comer’s excellent solo, “Runs in the Family,” is a harsh rebuke to himself for giving up college and dropping out to support the family, an unappreciated sacrifice.
For his part Ponyboy wonders about his own life, comparing himself to Pip, Dickens’ orphan in Great Expectations. During the stirring song “Great Expectations,” Ponyboy questions what path his life will take as Brody Grant and the company sing the echoing refrain, and Grant’s Ponyboy affirms he is “torn between what is and what could be,” and that “it’s hard to write the story when the story’s writing me.”
Ponyboy’s quest for definition is answered after “Friday at the Drive-in,” an energetic number where the Socs laud their superiority. Ponyboy and Johnny support Cherry Valance (Emma Pittman), when Dallas Winston picks on her and she forces him to leave the drive-in which is neutral territory. However, Ponyboy and Johnny unwisely stay and talk to Cherry and her friend Marcia (Sarahgrace Mariani). Their effrontery inflames the Socs, especially jealous Bob. The loser Greasers have “forgotten their place,” when they attempt to fraternize with Socs’ girls.
Unaware of the danger, Ponyboy and Cherry talk about their personal problems (“I Could Talk to You All Night”). Finding common ground, Cherry’s bigoted attitude against the Greasers is softened, and Ponyboy’s attitude about the Socs is humanized. But this detente shatters later that evening. The Socs attack Ponyboy, and Johnny must save Ponyboy’s life by killing Bob.
Taymor’s spectacularly staged struggle without music sports deadly movement with Hana S. Kim’s artfully designed background projections in black and white. Brian MacDevitt provides his nuanced, chilling lighting design. The action fades into darkness, which slowly brightens to blood and the violent consequences of bigotry.
Forced to run “Far Away From Tulsa,” Ponyboy and Johnny seek out Dallas who provides money and the address of an abandoned church where they can hide. Dallas counsels them to “Run Run Brother,” another unforgettable number led by Joshua Boone to suspensefully, viscerally conclude the wonderfully performed Act I. Spoiler: Act II pulls out all the stops!
The visual symbolism of the Greasers as the despairing underclass of a forgotten America is searingly reinforced throughout the musical. It appears on the sketches projected on the stage curtain. It’s conveyed in the planks, tires, concrete blocks, scaffolding, etc. used to comprise the fluid, minimalist, scenography by AMP featuring Tatiana Kahvegian. It speaks through the dingy T-shirts and faded jeans of Sarafina Bush’s costume design and Alberto “Albee” Alvarado’s hair & wig design, contrasted with the colorful clothing and perfect appearance of the upscale Socs.
The staging of the final “battle of fists” is terrifyingly performed with synchronized sound (Cody Spencer) and trenchant lighting. Jeremy Chernick and Lillis Meeh’s special effects (fires, rain) emotionally enhance the tumultuous events. The stylized hospital scene as Johnny delivers the musical’s haunting message of peace is effective and heartfelt. The uplifting conclusion (“Tulsa ‘67”), propelled by Justin Levine’s music supervision, orchestration, and arrangements shines.
The Outsiders. Through September 1, 2024, at the Bernard B. Jacobs Theatre (242 West 45th Street, between Broadway and Eighth Avenue). Two hours, 40 minutes, with one intermission. www.outsidersmusical.com
Photos: Matthew Murphy
