Review: THE OUTSIDERS at Broadway At The Hobby Center

Adapted from S.E. Hinton’s 1967 novel and Francis Ford Coppola's iconic 1983 film, this Tony-award winning musical features a book by Adam Rapp and Justin Levine, music and lyrics by folk band Jamestown Revival’s Jonathan Clay & Zach Chance. Told from the perspective of 14-year-old Ponyboy Curtis, THE OUTSIDERS is set in Tulsa, Oklahoma during the 1960s and follows the conflict between two rival groups divided by their socioeconomic status: the working-class "Greasers" and the upper-class "Socs" (pronounced soe-shez). Navigating the complexities of self-discovery, the Greasers dream about who they want to become in a world that may never accept them, and is a story of friendship, family, belonging and the realization that there is still “lots of good in the world.”

As a gay man in my 40s, the original film hit me at exactly the right age, not just because of its beautiful cast of young Hollywood stars, but because it deals with brotherhood, chosen family, and the experience of being different. This musical captures much of that same emotional pulse.

There is an impressive amount to admire in this production, and with 12 Tony nominations and 4 wins, it’s clear why. The level of production design work is spectacular. Near the end of Act I, when Ponyboy is dunked underwater, the stage plunges into darkness, the sound becomes muffled, and the lighting shifts into the eerie and dreamlike. It’s the kind of technical moment that wins Tonys, and the design team: Brian MacDevitt (lighting), Cody Spencer (sound), and Hana S. Kim (projection) more than earns the accolades. The staging in general is thrilling, especially during the Act I finale, where a violent fight erupts and blinding flashes of light mimic Ponyboy’s slipping consciousness. It’s visceral theatre.

The choreography is equally impressive. The fight scenes are staged with the precision of dance, and the combination of movement, sound, and lighting creates a propulsive energy that keeps the show humming. Jaydon Nget (Two-Bit) and Justice Moore (Ace) are real standouts here, embodying the physicality and attitude of the Greasers with electric charisma. Rick and Jeff Kuperman’s choreography shines throughout the show.

The set deserves special mention: constantly shifting and transforming, it becomes everything from a drive-in screen to a church to a parking lot, all with a level of invention that feels true to the Greasers’ gritty, functional world. Its interactive design gives the actors playful freedom, and under Danya Taymor’s emotionally charged direction, that world feels even more alive. Taymor has a cinematic eye that amplifies the staging

Musically, I’m a bit torn. The score leans into a folksy, country-inflected sound that’s pleasant and listenable, especially in Houston where that genre is familiar. But I found myself questioning whether THE OUTSIDERS really needed to be a musical at all. Much of the music is catchy in the moment but doesn’t feel particularly distinctive once you leave the theater. That said, songs like “Throwing in the Towel,” “Stay Gold,” and anything sung by Cherry Valance (played beautifully by Emma Hearn) stand out and linger.

Performance-wise, this touring cast absolutely delivers. Nolan White anchors the production as Ponyboy with the same earnest, compelling presence that C. Thomas Howell brought to the film. Corbin Drew Ross as Sodapop is a delightful surprise after an extended shirtless introduction, his Act II solo reveals a warm, lovely voice, and he brings both humor and heart to the role. Emma Hearn’s Cherry Valance is a welcome presence every time she sings. Bonale Fambrini (Johnny Cade) is wonderful and has great chemistry with Ponyboy. Tyler Jordan Wesley (as Dallas Winston) is menacing and his voice is strong and haunting. 

Not everything works as smoothly. Darrell, portrayed by Travis Roy Rogers, feels oddly written, more whiny than world-weary, and his costuming doesn’t help. Unlike in the film, where Darrell still looks like he has one foot in the Greaser world, the choices here soften him in ways that don’t serve the character. Rogers does a good job with what he's given however, and his voice is beautiful. Costume Designer Sarafina Bush nails the rest of the cast, especially the contrast between Greaser grit and the Socs’ pastel polish, but Darrell’s look feels out of place.

Some scenes suffer from slow pacing despite strong acting, especially in Act II. There’s also an unsettling moment involving the Socs (who are portrayed almost as faceless, identical white boys with names like Bob, Paul, Chet and Steve) where the bullying is cruel and feels out of step with the rest of the show. It’s not the classic musical-theatre villainy we’re used to; it’s harsher, more insidious, and it made me uncomfortable in a way I’m not sure was intentional. I also found the gaslighting of Cherry unnecessary here as well.

The rain-soaked climax of Act II is visually stunning. Water pours down onstage, blending with lights, movement, and music in a way that’s undeniably theatrical. The staging of the scene begins a little awkwardly, but as it builds, it becomes emotionally potent and ultimately lands with real impact.

In the end, this touring production of THE OUTSIDERS is an engaging, often thrilling piece of theatre. Its imperfections don’t overshadow its emotional resonance, and even while I question certain choices (musical or otherwise) the heart of the story remains strong. It’s still a tale about people on the margins, navigating a world that doesn’t always see them clearly, and that message feels as meaningful now as it ever has, even if I’m tired of saying that about everything these days.