‘The Outsiders’: Sky Lakota-Lynch & Joshua Boone. Photo: Matthew Murphy.

THE OUTSIDERS
Based on the novel by S. E. Hinton

Book by Adam Rapp with Justin Levine
Music & lyrics by Jamestown Revival (Jonathan Clay & Zach Chance) & Justin Levine
Choreography by Rick Kuperman & Jeff Kuperman
Directed by Danya Taymor
Bernard Jacobs Theatre
242 West 45th Street
(212-239-6200), www.OutsidersMusical.com

By David NouNou

Intense would be the appropriate word to summarize The Outsiders. Not having read the 1967 novel by S. E. Hinton, or seen the 1983 Francis Ford Coppola movie of the same name, I didn’t want to make any comparisons to previous incarnations but strictly base it on its own merits as a musical.

Set in Tulsa, Oklahoma in 1967, the story is told through the eyes of Ponyboy Curtis (Brody Grant), writing what he experiences that summer with his “Greaser” friends, and the rich kids of Tulsa, “The Socs” (short for “socials”). Ponyboy lives with his two older brothers: Darrell Curtis (Brent Comer), the head of the household now, and his middle brother, Sodapop (Jason Schmidt). Their parents both died by crashing into a moving train, and all the responsibility from raising his two brothers and making the money all befalls on Darrell.

The “Greaser” family also consists of two major friends: Dallas Winston (Joshua Booth) and Johnny Cade (Sky Lakota Lynch), who is Ponyboy’s best friend. Dallas is an outsider and more of a brother, protector, and friend to both Ponyboy and Johnny and he genuinely cares for them.

This brings us to the “Socs” who are the rich kids from the right side of the tracks. They are constantly picking on and terrorizing the greasers for entering into their parks and movie theaters. With the exception of Cherry Valance (Emma Pittman)— who crosses that line one night and engages in a conversation with Ponyboy—they find out they both share the same problems, it’s not easy to be rich and it’s not easy to be poor. This is, of course, noticed by the other “Socs” and ultimately results into a rumble and an ultimate death.

At this point, I couldn’t help but notice that I was watching some form of West Side Story set in Tulsa, Oklahoma. Instead of the Jets and the Sharks, you have “Socs” against “Greasers” fighting for who gets to keep the turf. Instead of Tony and Maria at a dance, you have Ponyboy and Cherry at a movie house. There is the rumble that is supposed to be a clean fight, but ends up with the gory blood and guts brawl in slow motion in this inexplicable rain storm, and ultimately someone gets stabbed and dies. West Side Story was groundbreaking, heart-pounding and brilliant in every way. The Outsiders, as the title implies, focuses on outsiders wanting a better life and a better place to fit in without being bullied.

Creators Adam Rapp and Justin Levine have written a solid book, but it could have used some editing since it becomes repetitious at times. However, on the plus side there is a haunting and pleasing score by Jamestown Revival (Jonathan Clay and Zach Chance) and Justine Levine.

This is an ensemble cast. However, there are four standout performances, most notably from Joshua Boone as Dallas Winston. His voice, performance and stage presence are a force with which to be reckoned. Sky Lakota-Lynch, as Johnny Cade, gives a heartbreakingly genuine performance and both performances deserve nominations for this year’s Tony Awards. Brent Comer as older brother Darrel and Joshua Schmidt as middle brother Sodapop make their presences felt through their strong voices and compelling performances.

Although Brody Grant has a mellifluous singing voice for Ponyboy, he sometimes lacks the stage presence to carry the whole show on his shoulders because the role is enormous. He is overshadowed by the four previously mentioned actors. Director Danya Taymor should have edited the show in certain scenes to make the narrative more focused and also strengthen Mr. Grant’s performance.

As stated earlier, the show is intense and if you enjoy seeing something outside your comfort zone, this is the ticket for you.

Edited by Scott Harrah
Published April 19, 2024
Reviewed at April 18, 2024 press performance

‘THE OUTSIDERS’: (top row) Barton Cowperthwaite, Dan Berry, RJ Higton, Kevin William Paul, Emma Pittman, Melody Rose; (front row) Sean Harrison Jones. Photo: Matthew Murphy.

‘THE OUTSIDERS’: The cast. Photo: Matthew Murphy.

‘THE OUTSIDERS’: Emma Pittman & Brody Grant. Photo: Matthew Murphy.

‘THE OUTSIDERS’: The cast. Photo: Matthew Murphy.

‘THE OUTSIDERS’: The cast. Photo: Matthew Murphy.

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‘MOULIN ROUGE! THE MUSICAL’: Karen Olivo & Aaron Tveit. Photo: Matthew Murphy

MOULIN ROUGE! THE MUSICAL
Book by John Logan
Based on the 2001 Twentieth Century Fox film Moulin Rouge!
written by Baz Luhrmann & Craig Pierce & directed by Baz Luhrmann
Music supervision, orchestrations, arrangements & additional lyrics by Justin Levine
Choreography by Sonya Tayeh
Directed by Alex Timbers
Al Hirschfeld Theatre
302 W. 45th Street
877-807-9130, https://moulinrougemusical.com/

By Scott Harrah

Baz Luhrmann’s iconic 2001 film Moulin Rouge! was perhaps the first “jukebox musical” of its kind for Hollywood, released the same year as the ultimate jukebox phenomenon Mamma Mia! on Broadway. In this brilliant stage adaptation, book writer John Logan and director Alex Timbers keep the same storyline but have added many new songs. Set designer Derek McLane has turned the Al Hirschfeld Theatre into a gorgeous replica of the legendary Montmartre nightclub in Paris, complete with a red windmill and glitter galore, like a brothel on steroids.  Moulin Rouge! The Musical “can, can, can” and will give mega-shows like Hamilton and Book of Mormon some stiff competition as far as having hard-to-get, expensive tickets, and the show has already broken box-office records since previews began earlier this summer.

Baz Luhrmann’s brilliantly busy film was always more about style than substance, so if the show’s narrative seems paper-thin and hollow, it’s only because this adaptation is staying true to the film. However, to really enjoy the musical, forget about Nicole Kidman’s Satine, Ewan McGregor’s Christian and John Leguizamo’s Toulouse-Lautrec because the geniuses behind this glorious stage version have completely recalibrated and retooled this reboot for a 2019 audience. Everything about the show is interactive and decadent from the moment one steps inside the Hirschfeld, with men and women sporting corsets and high heels bumping and grinding on stage before the show even begins. The show starts with a proverbial bang, with four sassy ladies belting out “Lady Marmalade,” the cover of the LaBelle song that Christina Aguilera, Lil’ Kim, Pink and Mya and Missy Elliot took to the top of the pop charts when the film opened 18 years ago.

Here, we have the golden-voiced Tony winner Karen Olivo as Satine, and her interpretation of the aging Parisian cabaret courtesan is much darker and less glamorous than Ms. Kidman’s but is equally heartbreaking.  When she descends upon the stage from a swing that comes down from the ceiling, belting Shirley Bassey’s “Diamonds Are Forever,” amped up by powerful mikes, it’s as thrilling as seeing Beyoncé, Madonna or any pop superstar making a grand concert entrance. Ms. Olivo’s lush vocals are one of the musical’s greatest assets. Aaron Tveit—who has come a long way indeed since Catch Me If You Can more than a decade ago—is great as the idealistic, broke young songwriter Christian, yet both he and Ms. Olivo do not have a lot of chemistry together, but somehow they make it work. Come to Moulin Rouge! The Musical for the “wow” factor of the music, Sonya Tayeh’s dazzling choreography and all the eye-popping spectacle, but just like the movie, don’t expect great drama.

The story revolves around how Harold Zidler (the delightful Danny Burstein), the quirky owner of Moulin Rouge, is facing financial ruin with the club in 1899. The only hope of saving the business is the smarmy Duke of Monroth (Tam Matu), who has plenty of cash to invest but demands the affections of Satine in return. This is a problem because Christian falls madly in love with her, so she must choose between him and the villainous duke.

Much of the fun experiencing Moulin Rouge! The Musical, besides Catherine Zuber’s splendid costumes, is hearing all the song snippets from recent hits like Adele’s “Rolling in the Deep” and Rihanna’s “Only Girl (In the World),” to name a few.  Some of the movie’s few original songs remain, most notably “Come What May,” Christian and Satine’s haunting love ballad, but it is truly a shame that Satine’s solo number, “One Day I’ll Fly Away,” was cut as that song was a show-stopper for Nicole Kidman in the film.

In addition, too many newer songs have been added to mention, but the opener in Act II, Lady Gaga’s “Bad Romance,” contains one of the most thrilling pieces of sexy choreography you have seen in a long time.

Other iconic parts of the film, like Australian pop star Kylie Minogue as the “Green Fairy” trilling “The Sound of Music,” could not be included for obvious technical reasons. However, Ms. Olivo does a great job doubling as the little fairy (here, she descends from the ceiling in one number) when Christian decides to drown his sorrows in the trippy alcoholic concoction absinthe.

Some of the supporting cast members are not as powerful as others. For example, Sahr Ngaujah (Fela!) seems too strong and able-bodied as Toulouse-Lautrec, the physically challenged painter whose portrayal by John Leguizamo was far superior in the film. However, it would be petty to quibble about the minor shortcomings of this stage adaptation because, thanks to the precise direction of Alex Timbers and his crackerjack team, Moulin Rouge! The Musical is a pop-culture pastiche, and a colorful, energetic, endlessly creative ride from beginning to end. It will certainly enjoy a well-deserved long, vibrant run on Broadway.

Edited by Scott Harrah
Published August 1, 2019
Reviewed at July 31, 2019 press performance.

‘MOULIN ROUGE! THE MUSICAL’: Tam Matu. Photo: Matthew Murphy

‘MOULIN ROUGE! THE MUSICAL’: The company. Photo: Matthew Murphy

‘MOULIN ROUGE! THE MUSICAL’: Ricky Rojas & Robyn Hurder. Photo: Matthew Murphy

‘MOULIN ROUGE! THE MUSICAL’: (left to right) Sahr Ngaujah, Aaron Tveit & Ricky Rojas. Photo: Matthew Murphy

‘MOULIN ROUGE! THE MUSICAL’: Karen Olivo & Tam Matu. Photo: Matthew Murphy

‘MOULIN ROUGE! THE MUSICAL’: (left to right) Jacqueline B. Arnold, Robyn Hurder, Holly James & Jeigh Madjus. Photo: Matthew Murphy

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