DPAC's Production of The Outsiders is Pure Gold

The Outsiders North American Tour Company. Photo by Matthew Murphy.

S.E. Hinton’s 1967 novel, The Outsiders, has long been a staple of middle school curriculum, and it’s easy to see why. Despite its age, it features relatable characters, simple but authentic prose, and timeless human themes. The same can be said for the 1983 film adaptation, directed by Francis Ford Coppola. Now, both versions of the story meld in perfect harmony in The Outsiders: A New Musical, onstage now at the Durham Performing Arts Center (DPAC).

The musical version, which features a book by Adam Rapp with Justin Levine and music and lyrics by the folksy Jamestown Revival (Jonathan Clay and Zach Chance) and Levine, delves deeply into all the heartfelt themes of the original story. Somehow, though, it makes them feel even more alive and impactful. Maybe it’s the soulful music, the beautiful movement that pervades the entire production, the moody lighting, or the gut-wrenching actor portrayals. Most likely, it’s some magical combination of all of these things. Whatever the “magic” is, though, it works . . . and it works in a major way. From the first moment to the last, this is the type of show that viewers will never forget.

Speaking of the “first moment,” this story starts with a hauntingly clear rendition of “Tulsa ‘67,” delivered by the story’s protagonist, Ponyboy Curtis (Nolan White). This opening number clearly sets the stage for the tale that unfolds. Ponyboy, as the lyrics reveal, lives with his two older brothers, pseudo-father Darrel (Travis Roy Rogers) and the silly-but-heartbroken Sodapop (Corbin Drew Ross) following the tragic death of their parents. Their world is one with clear, stark divisions. In their town, you’re either a well-to-do Soc or a rough-around-the-edges greaser. And, though Darrel once straddled the line between the two, Ponyboy is, at least ostensibly, aligned with the greaser side, though he has a rich inner world that he explores by disappearing into books and movies.
Ponyboy’s friend and fellow greaser Johnny Cade (Bonale Fambrini) also knows a thing or two about wanting to disappear. He is a sweet soul trapped in an abusive family and, like many of the other greasers, is regularly subjected to brutal beatings and beratings from the supposedly sophisticated Socs. Both Ponyboy and Johnny look up to the greaser leader Dallas Winston (Tyler Jordan Wesley), who, in their eyes, has all the street cred and all the answers.

Subtle piece by subtle piece, their overlapping stories emerge, aided greatly by Danya Tamor’s sensitive, classical direction. In her capable hands, the characters move and speak in no-nonsense, true-to-life ways, and they also do something that’s becoming increasingly rare in musicals: they sit still. Long stretching moments reveal late-night, dream-filled conversations between Ponyboy and Sodapop and anger-tinged exchanges of love and compassion between Johnny and Dallas. Each conversation is marked by dim, true-to-life lighting—a lone flashlight or a glowing house in the distance serving as the only brightness. These effects, made possible by Brian MacDevitt’s lighting design, set a distinct mood and cause viewers to lean in and eagerly listen to every word, forcing them dangerously close to these vulnerable characters.

It is through these conversations, and through the greasers’ interactions, that the audience comes to see the parallels that run through each of their lives and relationships. Surprisingly, these parallels also exist between the greasers and the Socs, a theme that is further explored through Rick Kuperman and Jeff Kuperman’s breathtaking choreography. A pivotal fight scene that takes place in the second act has characters from both sides moving in sync and often indistinguishable from one another. This deftly delivered dance is a study in meticulous perfection and somehow makes the ugly—a brutal, no-holds-barred street fight—beautiful. While all of the choreography is stunning, with its acrobatic leaps and jumping jazz, this number truly stands out for its characterization and wordless commentary.

When these characters aren’t dancing or dialoguing, they’re singing, backed by an incredible live orchestra. And, like the rich dialogue, every lyric divulges another detail. “Great Expectations” is a lost, longing number, powerfully delivered by White, while “I Could Talk to You All Night” showcases a surprising connection between Ponyboy and popular Soc, Cherry Valance (Emma Hearn). Then, there’s the incredible “Stay Gold,” performed with such heart by White and Fambrini, that it brings the audience to tears. 

These deeply developed characters make themselves known through every medium the stage possesses, revealing unexpected bonds and allegiances. Fambrini’s Johnny and Wesley’s Dallas showcase two different reactions to pain and the power of having even one person who cares and understands. Both Fambrini and Wesley give performances that are achingly vulnerable—but in different ways. Where Fambrini is tender and abashed, Wesley is tough and take-charge. The latter’s performance, however, is not without nuance. Subtle physical movements, emotional but controlled delivery, and an undeniable chemistry combine to create a character who is fully realized and fully unforgettable. Wesley also has a rumbling, stirring singing voice, which he uses to full effect in the heart-wrenching “Little Brother” number.

Like Wesley, White is an easy standout. His character goes from startlingly wise to incredibly childlike with whiplash intensity and yet never feels anything less than authentic. He also shares real chemistry with Hearn’s husky-voiced, complex Cherry and with both Rogers and Ross. Rogers takes a just-trying-to-hold-it-together approach to the older brother role, purposefully holding back and only revealing the full depth of his emotional range in the later scenes, and Ross provides much-needed comic relief that breaks through the heavy themes.  With each joke, however, he adds in just the right touch of austerity to keep the ambiance intact, ensuring viewers are never fully released from this tense, fraught world.

“Fraught” is certainly a good word to describe the story that plays out, but even the most difficult moments are realized with a dreamlike, surreal quality that feels a lot like looking back on one’s adolescence as an adult. Starry skies and hazy backdrops create a dreamy mirage of a set, one where cars become couches and concession stands in the blink of an eye. And, throughout, the music’s crystal-clear quality and the narrative lyrics guide the way, keeping viewers entranced and involved at every moment.

Innovative. Unforgettable. A throwback to classic theatre with new twists and takes. These are all phrases that can be aptly applied to The Outsiders. Viewing this show, with its flashing lights, slow-motion moments, and mesmerizing air, is a true experience, one that transports and transforms, all while reminding us all to go against the grain and stay gold. 

-Susie Potter