“When I stepped out into the bright sunlight from the darkness of the movie house, I had only two things on my mind: Paul Newman, and a ride home.”
Last year’s Tony Award winner for “Best New Musical,” the national tour of “The Outsiders” has finally made its way to Detroit. Based on S.E. Hinton’s 1967 novel and Francis Ford Coppola’s 1983 movie, the musical has a run time of roughly two and a half hours, lasting two acts and 19 songs. Beginning with the first line of the book, the “Broadway in Detroit” version of this show combined concentrated technical elements, emotional performances and fast-paced choreography to tell a beautiful story about a town divided by greasers and socialites (or, socs).
“The Outsiders” wasn’t limited in its set design, but instead made an effort to use every element to its fullest. The planks propped up against the back structure created a run-down, ramshackle look; they were later transformed into benches for the drive-in movie, a hospital bed and a base for a train (with the extra car tires as the wheels). A broken-down car became a bed, and a spare tire became a seat. There wasn’t a single wasted piece, and having the actors interact with the set so often made it feel lived-in and real.
Other standouts were the props, from the edible food on stage to added bloodstains on clothing and actors mid-scene. In fact, we didn’t see a single fake blood pack — blood just appeared as if the actors had really bled on stage. The costuming was particularly deft, with the ensemble donning Letterman jackets to play socs, then switching back to play greasers without missing a beat.
This show also featured some of the most impressive special effects we’ve ever seen live. Flashes of light coupled with sound effects created the illusion of a train, rapid blackouts eased transitions between slo-mo punches, and colorful beams gave the impression of an entirely new set with stained glass windows for a scene set in a church. There was a moment where it was actually raining on set, hair plastering to actors’ faces and water running off their clothes onto the gravel floor: it was unforgettable.
What the tight cast of actors put on the stage that night was nothing less than ethereal. Each actor’s tone was clear and unique, evoking a distinct picture of youth, struggle, found community and brotherhood. It was raw and authentic, bringing many audience members to tears by the bittersweet end.
The opening number began before the music picked up, with a unique aspect of the show called the “Ponyboy walk.” Nolan White (Ponyboy’s actor) walked through the audience before leaping up onto the stage. This — along with actors running through the audience, a lucky audience member recieving a copy of the “Outsiders” at the end of the show, and Ponyboy’s heartfelt monologues — made the show feel personal and intimate.
The movement on stage, including dancing, fighting and set movement, was unlike anything we’ve seen before. The choreography was extremely technical, full of flips, knee slides and triple turns, but it wasn’t excessive. Actors threw items to each other (clothes, towels, grease, tires, keys) and never once missed their marks. The fights weren’t just fists flying; they incorporated narrated slo-mo moments, they were filled with blood and rain and raw emotion, they were pieces of art.
The show also boasted one of the hardest-hitting, most memorable lines of the story, right after Darry (Ponyboy’s oldest brother) sang “Runs In The Family (Reprise),” a song about giving everything up for his family and never getting anything back. The song ended with a loud crack: Darry striking Ponyboy. Right before he falls to the floor, time stops, and Ponyboy says, “Darry’s never hit me before.” After that, the show hurtles forward, shoving you from scene to scene. It feels like you’re part of Ponyboy’s mind, never a second to stop and catch your breath.
The music was exactly what it needed to be. Snappy numbers like “Tulsa ‘67” and “Grease Got a Hold,” set an exciting mood. Intimate duet “I Could Talk To You All Night” gives more insight into seemingly shallow characters, and ballads like “Throwing in the Towel” and “Little Brother” round out the score with powerful emotion.
The touring cast wasn’t afraid to put their own spin on things, adding extra riffs and playing off of each other, and it only made the experience impossibly better. Nolan White and Bonale Fambrini were perfect fits for Ponyboy and Johnny Cade, bringing endless heart to their roles. Travis Roy Rogers was dynamic as Darry, striking a strong balance between tough love and vulnerability. Corbin Drew Ross brought sweetness and humor to Sodapop and Emma Hearn showed Cherry Valance’s confidence and morality. Finally, Tyler Jordan Wesley gave an incredible and heartwrenching performance as Dallas Winston. If you get the chance to catch “The Outsiders”, we highly recommend it.
