Review: Stunning new musical adaptation of ‘The Outsiders’ is still gold

A testament to the enduring power of SE Hinton’s classic young adult novel “The Outsiders,” that my dreams begin to parallel the nightmare scenarios of the characters as soon as I start rereading them. respectable I found myself on the road with my best friend from high school right before bedtime. by trying to survive the ever-increasing crisis

Hinton’s story has the same preoccupation that writer Bruno had. Bettelheim stated in the fairy tale The message of these works, according to Bettelheim, is that “the struggle of life is inevitable. It is a true part of human existence – but if one is not shy but endure unexpected and often unfair hardships. overcame all obstacles and finally won.”

“The Outsiders” adds a note of realism to this time-tested recipe. Hinton wrote this amazing book when she was in high school. Teen violence was new to her. The injury that has occurred has not healed. and when death comes It’s a permanent symptom.

Adapting “The Outsiders” was no easy feat. As Francis Ford Coppola discovered in his 1983 sluggish film, it is best remembered as the portrayal of future Hollywood stars such as Matt Di. Rollon, Patrick Swayze, Rob Lowe and Tom Cruise. The film follows the storyline. As if victory lies in crossing the finish line.

But the strength of this book is its novelty. In other words, this book impresses us through reflection rather than direct drama. The story is intense. don’t get me wrong But the protagonist meditates on various events. That makes the tight story look cluttered and planned.

The musical version of “The Outsiders,” opening worldwide at the La Jolla Playhouse, recognizes these dangers. The show was based on both Hinton’s novel and Coppola’s film. Featuring music by Jamestown Revival (Jonathan Clay and Zach Chance) and Justin Levine in the narrative.

The score has the natural folk-rock sound of the story without being locked in to any specific moment. Songs work best when they show off the inner lives of the main characters.

Lyrics have new charges. But it is sometimes overused with too much storytelling. When the music was mandated to shift the production into high gear. The trance that follows is usually not felt received. But I admire the creative prowess of songwriting.

The Danya Taymor-directed production is an impressive original. Even if the place seems discrete and incoherent. I’m afraid of using the Broadway commercial formula. But I am delighted with artistic risks. The show is an exciting mess.

This book is by Adam Rapp, a prolific playwright with an unconventional style. (I’m still waiting for someone in L.A. to play his good play “The Sound Inside.”) Rapp took a few but noticeable liberties with the novel. By adding dimensions that make some characters human by trying to be less schematic. He’s not as tough as Hinton. Some kind of fluid slipped in. But the narrative outline is rendered effectively.

Ponyboy Curtis, the 14-year-old protagonist and narrator who was raised by two brothers after their parents died in a car accident, remains central to the story. But this coming-of-age story, set in the midst of hostilities between rival gangs, It’s about a dream that can’t be stopped.

A street war between working-class Greasers and wealthy Socs escalates into brutality in this surreal landscape (designed by Amp featuring Tatyana Kahvegian), each scene reproduced from the remnants of abandoned estates, homes, cinemas. drive-in dirty park And the hospital room was zoned by rearranging old tires, cinder blocks and spare wood.

The violence was real. although it was stylized in the animated battle scenes in the second act. Choreographed by Rick and Jeff Kuperman, muscles become more colorful as bodies are slammed in a storm of unforgivable meaning and metaphor.

The musical manages the trick of keeping one foot in 1967 Tulsa and one foot in neutral contemporary reality. The logic may have some loopholes. But I was able to suspend my disbelief — something I had trouble with when watching more straightforward movies.

Born from Ponyboy, The Greasers are multiracial. sensitive and bright He refused to put a “Tulsa Junk” sign thrown at him inside. However, economic bad luck limited his options. He survived under the protection of his fellow Greasers, his surrogate family.

In a star-studded performance, Brody Grant fills the Pony Boy role with temperamental rock star charm. He sings when conveying the wishes of the characters in the song. exciting starting numbers “Great Expectations,” inspired by Charles Dickens’ novel Ponyboy, was reading, seemed to emerge from the deepest pockets of his soul.

The Greasers at La Jolla Playhouse’s world premiere musical “The Outsiders.”

(Rich Soulet II)

Johnny, who loves to follow Pony Boy around town. Traumatized by being raised abusively in an alcoholic family. and the recent beatings by the Socks. Peering from behind the character’s wounds, Sky Lakota-Lynch impresses Johnny with pain and gentle silence.

When Johnny and Ponyboy are in trouble after a member of the Soccer Team is killed. They almost merged into one. They don’t need a lot of words to understand each other. But they offer friendship and comfort in song.

Da’Von T. Moody as Dallas, a mischievous porter who becomes one of the musical’s tragic heroes. His increasingly repulsive qualities were diminished and his empathetic and compassionate spirit amplified. He treats Ponyboy and Johnny like brothers who need protection. It’s a softer character, but Moody made sure we didn’t take our eyes off Dallas’ swagger.

Ponyboy’s older brother, Darrel, sacrificed his future to be the roof over his little brother’s head. I’ve become more of a father now. Less obsessed with his own muscles and less keen on brawling, he’s a Greaser in name only. Ryan Vasquez highlights the seriousness of this reimagined character. but releases emotion when released in a song

The Socs portrayed as a privileged savage, Bob (Kevin William Paul) dresses like a college student and acts like a sociopath. San) who is more optimistic than in fiction. Knowing how dangerous he might be after a few drinks Without forgiving him, she overlooked his dark side. over time She began to see that Greaser was more than greasy hair and bad manners.

Musicals are not limited to head pats. But most of the bad is on the surface — at least for sodapop Greasers (Jason Schmidt), the handsome middle brother of the Curtis family. Cuddle up with Ponyboy before bed when his younger brother looks especially worried. Johnny and Ponyboy also have unusual physical expressions. At one point I wondered if they were going to kiss.

Obviously, these gang members live in a male utopia. where no boy should fear homophobia It’s a captivating vision, although it adds a touch of emotion to the performance.

But “The Outsiders” are determined to find the redemptive value of characters cut off from society. Ponyboy is haunted by Robert Frost’s poem “Nothing Gold Can Stay.” His words spawn a song in one of the production’s critical second scenes.

Musicals, even in this somewhat shaky intro still retains the value of Hinton’s novel Imperfectly but daringly transformed in a hypnotic theatre.