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    ‘The Outsiders’ Wins the Tony for Best Musical

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    “The Outsiders,” a muscular stage adaptation of the classic young adult novel about class conflict between a pair of high school gangs, won the coveted Tony Award for best musical on Sunday.The show, which has been gaining steam at the box office, is set in Tulsa, Okla., in 1967, and is based not only on the best-selling 1967 novel by S.E. Hinton, but also on Francis Ford Coppola’s 1983 film adaptation.The musical is gritty, bloody and relentlessly youthful — the creative team eliminated virtually all adult characters, and the show features some of the most effectively vivid violence seen on a Broadway stage, using a mix of fight choreography, strobe-like lighting and percussive sound design to evoke the brutality pervading these adolescent lives. The show is saturated with water and dirt, but also with poetry and literature, as its orphaned protagonist turns to reading and writing to escape the circumstances of his childhood.The show received mixed reviews from critics; in The New York Times, the chief theater critic, Jesse Green, wrote that “many stunning things are happening on the stage of the Bernard B. Jacobs Theater — and from the sobs I heard the other night, in the audience, too.” But, he said, “structural problems mean its achievements don’t stick.”Nonetheless, in recent weeks the show has been playing to full houses, fueled in part by healthy interest from young patrons, and it has been grossing about $1 million a week, which is solid but not spectacular for a show of this scale. The Tony Award should provide the show with a box office boost.“The Outsiders” features a score from the country duo Jamestown Revival in collaboration with the Broadway musical artist Justin Levine; the musical’s book is by the playwright Adam Rapp, also in collaboration with Levine. It is directed by Danya Taymor — a niece of “The Lion King” director Julie Taymor, she is helming a major musical for the first time — and choreographed by the brothers Rick and Jeff Kuperman.The musical began its production life with a run last year at the nonprofit La Jolla Playhouse in San Diego. The Broadway production, which opened in April, has a huge producing team led by the Araca Group, established by two brothers, Matthew and Michael Rego, and their childhood friend Hank Unger. The show was capitalized for $22 million, according to a filing with the Securities and Exchange Commission.To win the best musical Tony, “The Outsiders” bested “Hell’s Kitchen,” “Illinoise,” “Suffs” and “Water for Elephants.”A cast recording of “The Outsiders” was released in May by Sony Masterworks Broadway. And the musical’s producers have announced plans to start a North American tour in the fall of 2025, opening at the Tulsa Performing Arts Center. More

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      Tony Predictions: Expect Wins for ‘Merrily’ and ‘Stereophonic’

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      Our reporter surveyed a quarter of Tony voters before Sunday’s ceremony. One certainty: Sondheim’s onetime flop seems destined for redemption.Everyone loves a comeback story. And this year, Broadway will be celebrating one for the ages.“Merrily We Roll Along,” a Stephen Sondheim show that has long been one of musical theater’s most storied flops, will cement its long-sought redemption on Sunday by winning the Tony Award for best musical revival, according to my annual survey of Tony voters.This week I have connected, by phone or by email, with just over a quarter of the 836 Tony voters, and asked how they were voting. In a season in which lots of new musicals have admirers but none seem to have fully satisfied industry insiders, that race is tight, as are some of the key acting categories.But “Merrily,” more than any show since “Hamilton,” has won over not only the ticket-buying audience, which has made this production a significant hit, but also the group of producers, investors, writers, actors, designers and others whose work or volunteer lives are so theater-involved that they have qualified as Tony voters.The survey is not a scientific poll; some voters haven’t even cast their ballots yet. For the actual winners (and some song and dance, too), tune in Sunday for the awards show, which starts at 8 p.m. Eastern on CBS and Paramount+ with Showtime. A preshow with some of the awards will stream on Pluto TV starting at 6:30 p.m. Eastern, and we’ll be live-blogging all evening at nytimes.com/theater.Until then, here’s a look at what those surveyed are indicating.Best musical: ‘The Outsiders’ could upset ‘Hell’s Kitchen.’“The Outsiders” is getting lots of love for its vivid depiction of violence and gritty physical production, but less for its score.Sara Krulwich/The New York TimesMany are loving the vocal performances and the choreography in “Hell’s Kitchen,” but are less enamored with the storytelling.Sara Krulwich/The New York Times“Hell’s Kitchen,” the Alicia Keys musical, is doing quite well: good reviews, lots of media attention and the strongest sales of any of the season’s new musicals.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      Listen to the Best Songs From 8 Tony-Nominated Shows

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      “Hell’s Kitchen,” “Stereophonic” and others are up for top prizes at Sunday’s ceremony. Our critic takes stock of their cast albums, all available now.Cast albums are both keepsakes and fantasies, preserving a show for those who have seen it and implying it for those who have not. At their best, they are also stand-alone works of musical-theater art. Listening to the recordings of the eight shows nominated for Tony Awards in the best musical and best score categories — all of which are now available — I was impressed by how often and how variously they reached that standard. Below, in chronological order by opening date on Broadway, a guide to the latest batch of future treasures.‘Here Lies Love’The first of the season’s best score nominees, this sung-through biography of Imelda Marcos was the only one not to release a cast recording. That’s a shame, but die-hards can seek out the 2014 Off Broadway version or the 2010 concept album, with its whacka-whacka disco-beat ditties by David Byrne and Fatboy Slim. Remastered in 2023, and with a very different collection of songs from the Broadway show, the concept album is naturally less theatrical; with each track featuring a different singer in a totally distinctive style — Tori Amos, Florence Welch, Natalie Merchant, Sia — character development is impossible. Instead, it offers hypnotic dance-floor euphoria, as in Cyndi Lauper’s take on Imelda’s “Eleven Days” of courtship.“Eleven Days”“Here Lies Love,” featuring Cyndi Lauper, from the 2010 concept album (Nonesuch)‘Days of Wine and Roses’A story of husband-and-wife alcoholics on diverging paths toward recovery and disaster is bound to be harrowing, but Adam Guettel’s score carefully balances the inevitable lows with the sometimes wild highs. The cast album brilliantly captures that full-spectrum range, especially in the edge-of-danger singing by Kelli O’Hara and Brian D’Arcy James at their finest. Their quasi-operatic cries for relief and forgiveness effectively contrast (but do not contradict) the jazzy mania of songs like “Evanesce,” in which the snockered characters sound like xylophones and leap like dolphins, making you ache if not for drink then for these desperate drinkers.“Evanesce”“Days of Wine and Roses” (Nonesuch)‘Water for Elephants’Jessica Stone’s thrilling staging is a real eye-catcher in this circus-based musical at the Imperial Theater. But the cast album demonstrates how the songs, by PigPen Theater Co., a seven-man indie folk collective, can grab you by the ears. Avoiding the rut of some Americana scores, PigPen, along with its arrangers and orchestrators, offers a wide variety of sounds and formats that suit the milieu and the action: bravura showstoppers for the ringmaster, soaring anthems for the hero, haunting ballads for the woman caught between them. One of those ballads is “Easy,” a heartbreaker even if you have no idea that it’s sung to a dying horse.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      When the Stage Harnesses the Power of the Movies

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      Adaptations of films will be a factor at the Tonys this year. Surprisingly the best of these shows are not always the most faithful.A passing glance at this year’s Tony nominations might trick a glancer into thinking the wrong artistic medium has crept onto the list. Among the nominees are “The Notebook,” “The Outsiders” and “Days of Wine and Roses,” based on three movies: a 2004 Nicholas Sparks romance, a 1983 coming-of-age crime drama directed by Francis Ford Coppola and a 1962 Blake Edwards melodrama about alcoholism. (They were, in turn, based on best-selling novels and a TV play.)It’s not that movie adaptations are uncommon in theater — a number of mega-budget shows have been driven by silver-screen nostalgia, whether it’s “Back to the Future” and “Aladdin” or that stalwart of the Broadway economy, “The Lion King.” Splashy musicals, in particular, often come from recognizable cinematic sources: There’s “Mean Girls,” “Moulin Rouge,” “Kinky Boots” and many more. Not all of them are hits, as “American Psycho,” “Almost Famous” and “New York, New York” prove.Given how much theater relies on visitors buying tickets to an experience they know they’ll enjoy, it makes sense. Though there’s plenty of artistry on display in these productions, blockbuster adaptations can feel, to financiers, like slam dunks, safer bets than original material. The same nostalgia that drives sequels and reboots in cinema is at play: We know audiences like it, so let’s give them some more.But intellectual property that’s bankable isn’t everything, and increasingly, interesting theater comes from movie sources hailing from left field. “Teeth,” for instance, a musical by Michael R. Jackson and Anna K. Jacobs, made a bloody, buzzy Off Broadway splash this winter at Playwrights Horizons; it’s based on a 2008 indie horror classic about a young woman with vagina dentata. Over at St. Ann’s in Brooklyn, Tobias Menzies starred in “The Hunt,” adapted by David Farr from Thomas Vinterberg’s 2013 Norwegian thriller.“Teeth” made a splash Off Broadway this year, even though the source material wasn’t widely known.Jeenah Moon for The New York TimesJess Weixler starred in the 2008 indie horror movie on which the show is based. LionsgateWe are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      Enhancing Broadway, by Any Bodily Means Necessary

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      The choreographers nominated for Tony Awards this year have a broader vision than usual of the possibilities of dance in theater.In the Broadway musical adaptation of “The Outsiders,” something shocking keeps happening. It isn’t that the characters throw punches, or not exactly. These are teenagers who rumble, so it isn’t surprising that they’re violent. What’s shocking is the kinesthetic impact. You seem to feel the blows yourself.The impact is electrifying, but it doesn’t operate alone. It serves the storytelling and engages the emotions of an audience by bodily means. This is what choreography at its best can do, and it isn’t limited to what you might think of as dancing.The choreographers of “The Outsiders” and of the four other shows nominated for the Tony Award in that category this year understand this. None dole out the usual stuff. This broader vision of theatrical choreography is worth noticing and applauding.Hell’s KitchenMaleah Joi Moon plays the lead role in “Hell’s Kitchen,” which has choreography by Camille A. Brown.Sara Krulwich/The New York TimesA loosely autobiographical jukebox musical of songs by Alicia Keys, “Hell’s Kitchen” takes place in the 1990s, in the Manhattan neighborhood of the title. Camille A. Brown’s choreography fits the setting. It looks, delightfully, like dancing that the people who live there would do, like regular folks getting their groove on.But it’s also a throwback to an older, neglected mode of integrating dance into a musical, the tradition that Agnes de Mille inaugurated with shows like “Oklahoma!” and “Carousel” in the 1940s. Like de Mille, Brown individuates the ensemble with detail: This guy is extra flamboyant; that gal pops her gum bubbles on the beat. Moving like this, the dancing chorus becomes the appealing community that draws the show’s 17-year-old protagonist, Ali, into the world — and out from the apartment building where her mother wants her to stay sheltered.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      Review: In ‘The Outsiders,’ a New Song for the Young Misfits

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      The classic coming-of-age novel has become a compelling, if imperfect, musical about have-not teenagers in a have-it-all world.For many young misfits and wannabes, “The Outsiders,” published in 1967, is still a sacred text. Written by an actual teenager — S.E. Hinton drafted it in high school — it spoke with eyewitness authority to teenage alienation. Even if its poor “greasers” and rich “socs” (the book’s shorthand for society types) now seem like exhibits in a midcentury angst museum, their inchoate yearning has not aged, nor has Hinton’s faith that there is poetry in every soul.These tender qualities argue against stage adaptation, as does Francis Ford Coppola’s choppy, murky 1983 movie. (It introduced a lot of young stars, but it’s a mess.) The material doesn’t want sophisticated adults mucking about in it or, worse, gentling its hard edges for commercial consumption. Harshness tempered with naïveté is central to its style and argument. To turn the novel into a Broadway musical, with the gloss of song and dance that entails, would thus seem a category error worse even than the film’s.And yet the musical version of “The Outsiders” that opened on Thursday has been made with so much love and sincerity it survives with most of its heart intact. Youth is key to that survival; the cast, if not actually teenage — their singing is way too professional for that — is still credibly fresh-faced. (Five of the nine principals are making their Broadway debuts.) That there is no cynical distance between them and their characters is in itself refreshing to see.Also key to the show’s power is the director Danya Taymor’s rivetingly sensorial approach to the storytelling, even if it sometimes comes at a cost to the story itself. Many stunning things are happening on the stage of the Bernard B. Jacobs Theater — and from the sobs I heard the other night, in the audience, too.Some of those sobs came from teenagers, who can’t have seen in recent musicals many serious attempts at capturing the confusions of youth. Though witches, princesses and leaping newsboys can be entertaining, their tales are escapes from reality, not portraits of it. From the start, “The Outsiders” is gritty — literally. (The stage is covered with synthetic rubber granules that kick up with each fight and footfall.) There is no sugarcoating the facts as Hinton found them: Her Tulsa, Okla., is an apartheid town, the greasers subject to brutal violence if they dare step into the socs’ territory or, worse, lay eyes on their girls.But the unavoidable cross-clan romance — between the 14-year-old greaser Ponyboy Curtis (Brody Grant) and the soc Cherry Valance (Emma Pittman) — is something of a MacGuffin here. The score, by Jonathan Clay and Zach Chance of the folk duo Jamestown Revival, working with Justin Levine, gives them just two songs, neither really about love.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      On the Road With ‘The Outsiders,’ Where the Greasers and Socs Rumbled

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      In denim and leather and newly acquired vintage snakeskin boots, the cast and creative team bringing “The Outsiders” to Broadway went on a trip across Tulsa, Okla., last month — a granular, history-flecked tour of the place where, about 60 years earlier, S.E. Hinton’s coming-of-age story was written and set. Hinton, 75 and still a beloved local, was a star attraction; the visit was a way of mapping out how the new musical version might fit into, or even build on, the durable legacy of “The Outsiders.”Bouncing along together in a van, singing bits of the show’s score, the company members let out a collective gasp as they caught sight of the enormous Admiral Twin Drive-In. Hinton watched double features there as a kid, and it figured prominently in her 1967 novel. The theater, whose midcentury-style signage remains, also served as a location for Francis Ford Coppola’s 1983 movie adaptation, whose stars included Tom Cruise, Rob Lowe and Patrick Swayze.Sky Lakota-Lynch (Johnny Cade), Jason Schmidt (Sodapop Curtis), Brent Comer (Darrel Curtis) and Daryl Tofa (Two-Bit Mathews) hang outside the Admiral Twin Drive-In.Joshua Boone (Dallas Winston), Lakota-Lynch and Schmidt. “‘Outsiders’ is the first novel I read, front to back,” Boone said. Brody Grant (Ponyboy Curtis), Kevin William Paul (Bob Sheldon) and Emma Pittman (Cherry Valance). “Yo, there’s a plaque back here,” someone shouted, and seven guys plus one young woman raced across the muddy off-season field to giddily read about when Greasers and Socials ruled that very spot. Then they popped behind the concessions stand and pretended to pull sodas at the counter. “The Outsiders” still sells out weekends at the Admiral, with more than 1,200 cars lining up.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      What to Know About This Crazily Crowded Broadway Spring Season

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      Why are 18 shows opening in March and April, and which one is for you? Our theater reporter has answers.Is Broadway facing a bonanza or a blood bath?The next two months are jam-packed with new productions — 18 are scheduled to open in March and April — while the industry is still struggling to adapt to the new, and more challenging, realities of a postpandemic theater era.For potential ticket buyers, there will be a dizzying array of options. In early April, about 38 shows should be running on Broadway (the exact number depends on unexpected closings or openings between now and then).“From a consumer point of view, we’re excited about the amount of choice there is on Broadway,” said Deeksha Gaur, the executive director of TDF, the nonprofit that runs the discount TKTS booths. Anticipating that bewildered tourists will need help figuring out what shows to see, TDF is already dispatching red-jacketed staffers to preview performances and updating a sprawling cheat sheet as the employees brace for questions on what the new shows are about and who is in them.But the density of late-season openings — 11 plays and musicals over a nine-day stretch in late April — has producers and investors worried about how those shows will find enough ticket buyers to survive.“On the one hand, how incredible that our industry perseveres, and that there is so much new work on Broadway,” said Rachel Sussman, one of the lead producers of “Suffs,” a musical about women’s suffrage that is opening in mid-April.“On the other hand,” Sussman added, “we’re still recovering from the pandemic, and audiences are not back in full force, so there is industrywide anxiety about whether we have the audience to sustain all of these shows. It’s one of those things that only time will tell.”We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      Broadway’s Crunchtime Is Also Its Best Life

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      Eighteen openings in two months will drive everyone crazy. But maybe there should be even more.Broadway is the pinnacle of the commercial theater, a billion-dollar cultural enterprise and a jewel of New York City. So why is it run like a Christmas tree farm?I don’t mean that it invites too much tinsel. I mean that it operates at a very low hum for 10 months of the year and then goes into a two-month frenzy of product dumping.This year, 18 shows, more than half of the season’s entire output, will open on Broadway in March and April — 12 in just the last two weeks before the Tony Awards cutoff on April 25. Like the film industry in December, angling for Oscars before its end-of-year deadline, theater producers bet on the short memory of voters (and a burst of free publicity on the Tonys telecast) to hoist their shows into summer and beyond.From a business standpoint, this is obviously unwise. Instead of maintaining a drumbeat of openings throughout the year — as Hollywood, with hundreds of releases, can do despite its December splurge — Broadway, with only 30 to 40 openings in a typical season, keeps choosing to deplete the airspace, exhaust the critics and confuse the audiences with its brief, sudden, springtime overdrive.Of course, I shouldn’t care about the business standpoint; I’m one of those soon-to-be-exhausted critics. Please pity me having to see a lot of shows from good seats for free.But regardless of the as-yet-unjudgeable merits of the work, I find myself enthusiastic about the glut. I might even argue for more.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More