SALT LAKE CITY — Some stories stay with us because they remind us of who we were, while others challenge us to think about who we might become. The Outsiders, the touring Broadway production now playing at Broadway at the Eccles, manages to do both. With a powerful score, exceptional performances, and some of the most impressive theatrical staging I’ve seen, this musical brings S.E. Hinton’s familiar story of friendship, brotherhood, class divisions, and lost innocence to life in a way that feels both timeless and surprisingly immediate.
Set in Tulsa, Oklahoma, in 1967, The Outsiders tells the story of two rival groups divided by their economic circumstances. The Greasers are working-class kids who have grown up with little, while the Socs (Socials) come from wealthy families and seem to have every advantage. At the center of the story is 14-year-old Ponyboy Curtis, who is trying to find his place in a world where violence and loyalty often seem inseparable. After losing their parents, Ponyboy and his older brothers, Darrel and Sodapop, struggle to hold their family together while navigating the constant threat of conflict with the Socs.
S.E. Hinton began writing the novel as a teenager, frustrated by how unrealistically young people and their experiences were portrayed in books. Published in 1967, The Outsiders became a landmark work of young adult literature, eventually reaching millions of readers. Francis Ford Coppola’s 1983 film adaptation brought the story to an even wider audience, introducing a generation of moviegoers to a cast of young actors who would go on to become major Hollywood stars. For many of us, the book and film are familiar territory, and the musical builds on that emotional connection while giving the story a new dimension through music and movement.
One of the most meaningful threads running through the story is the idea of staying gold. The phrase comes from Robert Frost’s poem “Nothing Gold Can Stay,” which Ponyboy recites to his friend Johnny while the two are hiding in an abandoned church. The poem reflects on how the most beautiful and innocent moments in life are often fleeting. Johnny takes that thought and turns it into something more hopeful when he urges Ponyboy to “stay gold.” He recognizes something different in his friend: a sensitivity and appreciation for beauty that the harshness of their surroundings has not managed to destroy. Ponyboy notices sunsets, enjoys reading, and sees the world with a poetic curiosity that many of the other boys have lost. Johnny wants him to hold on to that part of himself.
That message becomes the emotional center of the musical, particularly in the beautiful, acoustic duet “Stay Gold.” Performed by Ponyboy (played by Christian Arredondo) and Johnny (played by Seth Ajani), it is a tender contrast to the louder, more aggressive music and physical intensity surrounding it. The song feels like a quiet plea to preserve the goodness that exists beneath the tough exterior these boys have learned to wear. It is heartbreaking because we understand what they are up against, but it is also hopeful. Their circumstances may shape their lives, but they do not have to define who they become.
Christian Arredondo is wonderful as Ponyboy Curtis. He brings both the youthful vulnerability and the growing determination of the character to the stage, with a voice that is particularly impressive in its soaring musical moments. “Great Expectations” serves as a strong showcase for Arredondo, who delivers the song with just the right amount of angst and emotion. His frustration with his older brother Darrel feels genuine, while his chemistry with Johnny and his connection with Cherry give the story its emotional foundation.
Seth Ajani, performing the role of Johnny Cade, was another standout. I initially wondered what to expect when I saw that an understudy was performing the role, but any hesitation quickly disappeared. Ajani was phenomenal, with a beautiful, buttery vocal quality that made his performance especially memorable. He captures Johnny’s quiet loyalty to Ponyboy while also conveying the withdrawn, beaten-down quality of a young man whose upbringing has left him with very little confidence in himself. His performance in “Stay Gold” is one of the evening’s highlights and provides the emotional pinnacle of the production.
Travis Roy Rogers brings a wonderful bluesy soulfulness to Darrel. His powerful performance of “Throwing in the Towel” is particularly moving. The song becomes a breaking point for the brothers as they confront their shared grief and the strain of trying to keep their family together. Rogers gives Darry a depth that helps us understand the burden he carries as the oldest brother, often forced to act more like a parent than a sibling.
Anthony Garcia is equally compelling as Dallas, the hardened and volatile leader of the Greasers. Beneath his rough exterior is an intense loyalty to the only family he feels he has, and Garcia gives the character plenty of gravitas. His emotionally devastating performance of “Little Brother” is a showstopper, revealing the pain and vulnerability beneath Dallas’s tough exterior.
I also enjoyed Emma Hearn as Cherry Valance. She brings sass and confidence to the role while allowing us to see the softer side of a young woman who recognizes that the divisions between the two groups are not as simple as they appear. Her vocals in “Hopeless War” and “I Could Talk to You All Night” are lovely. I did find myself wishing the book gave Cherry more time and development. She has an interesting perspective and a connection to Ponyboy that could have been explored further. A little more depth for her character would have helped us feel even more invested in their relationship.
The musical’s book by Adam Rapp and Justin Levine occasionally falls into the trap of telling us about an experience rather than letting us see it unfold. A few moments of exposition could have been more effectively conveyed through action or dialogue. Still, the story’s emotional foundation is strong, and the performances do much to bring its characters to life. The vocals throughout the company were outstanding. In fact, several performers impressed me even more vocally than the Broadway cast I saw last spring.
Visually, the production is stunning. Director Danya Taymor has created a theatrical world that feels gritty, energetic, and constantly in motion. The set transforms through projections, lighting, shadows, and silhouettes, with elements of fire and water adding to the atmosphere. The rubber-pellet gravel floor, transforming car, and carefully choreographed movement create an environment that feels both realistic and highly theatrical.
The choreography by Rick Kuperman and Jeff Kuperman is exceptional. The fights are explosive, athletic, and intensely physical, capturing the desperation and aggression of the rival gangs. The climactic rumble is an extraordinary piece of theatrical engineering. As the actors fight, tumble, and move through a downpour of actual rain, water splashes across the stage, creating an experience that is both visually spectacular and emotionally charged. The precision required to execute such demanding choreography safely and consistently night after night is remarkable.
The lighting design by Brian MacDevitt deserves special recognition. Lightning, flames, headlights, flashlights, and even the blinding effect of an approaching train are brought to life through inventive lighting effects. At times, the lighting creates the illusion of slow motion and stop motion, heightening the intensity of the action. Sound designer Cody Spencer keeps the vocals and dialogue exceptionally clear, while music director Remy Kurs leads an impressive orchestra that gives the Americana and folk-rock score its full impact.
I was especially pleased that this touring production captured so many of the elements I loved about the Broadway production I saw last spring. The tour group retains the energy, technical spectacle, and emotional storytelling that made the original so memorable, while this cast brings its own vocal strengths and interpretations to the material.
The Outsiders may look like a story just about rival gangs fighting over territory and reputation, but its heart is much more universal. It is about young people who want to belong, brothers trying to keep their family intact, friends who become family, and the struggle to hold on to goodness when life gives you every reason to become hardened. The world may not always be kind, and innocence may not last forever, but that doesn’t mean we should stop looking for the beauty around us.
Johnny’s message to Ponyboy is ultimately a message to all of us: Don’t let the world take away the part of you that sees the sunset, recognizes beauty, and believes there is something worth protecting. Stay gold. With its outstanding performances, memorable music, and breathtaking theatrical effects, The Outsiders at Broadway at the Eccles is a production well worth experiencing.
MORE INFO: THE OUTSIDERS is currently playing at the George S. and Dolores Doré Eccles Theater (131 Main Street, Salt Lake City, UT 84111) through November 15th, 2026 at 7:00PM Tuesday-Thursday, 7:30 on Friday and Saturday, and 6:30 on Sunday, with 1:00PM matinees on Saturday and Sunday. Tickets are approximately $155–$257, depending on seating and performance and not including . For the most up-to-date schedule, performance details, and official ticketing, visit Broadway at the Eccles: www.saltlakecity.broadway.com.
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