Natalie De La Garza

Hinton’s themes around identity, belonging, socioeconomic division, and found family are as resonant now as they were almost 60 years ago. Its teen angst is familiar, maybe too familiar at times, but the production’s staging and performances lend it a physical immediacy that keeps it from feeling stale or cliché. It lands, no sentimentality or nostalgia necessary, which is a big credit to the actors.

That said, there’s still plenty of nostalgia here, with the production hitting on the film’s most iconic characters, looks, and sounds which, yes, include the Harry Belafonte tunes. I know I, for one, would be rioting if the show didn’t include some bit of “Day-O (The Banana Boat Song)” and “Jump in the Line (Shake, Señora).” Eddie Perfect wrote the original music and lyrics for the show and, while the songs certainly serve the story and aren’t bad, per se, there aren’t really any breakout numbers either. Connor Gallagher’s choreography does its best to enhance the fun of the numbers and does, but…Let’s put it this way, I don’t know if you’ll leave humming any tune other than Belafonte’s.