When Ponyboy Curtis steps out into the brightness of the sunlight from the darkness of the movie house, he only has two things on his mind: Paul Newman and a ride home.
As Michael Hart’s Ponyboy trod into the spotlight to deliver this all-too-familiar opening line, his complex perceptions of a class-divided society immediately came to life around him.
Despite minor inconsistencies, authenticity and attention to detail shone in Sock ‘n’ Buskin’s production of The Outsiders. Under the direction of Smridhi Malhotra, the cast and crew brought creativity and intention, exploring themes of brotherhood, loss and identity.
Based on the 1967 novel by S.E. Hinton and adapted to the stage by Christopher Sergel, The Outsiders follows the intelligent 14-year-old Ponyboy and the working-class Greasers as the group navigates their long-standing enmity with the affluent Socials — or “Socs” for short. The cross-town rivalry takes a turn when, in an act of self-defence, Ponyboy’s best friend Johnny kills a Soc.
Underneath the classic Greaser slicked-back hair and worn jeans, Ponyboy is different from his societal label. Hart perfectly captured this affliction between conformity and identity, anxiously fidgeting with his hands with an animated glimmer in his eyes while talking about his favourite books or going to the movies alone.
Ponyboy’s differences allow him to see the world from a unique perspective. As he stepped into the spotlight to share these insights in powerful monologues, Hart’s talents shone brightest. He effortlessly held the audience’s attention by exuding a quiet but powerful confidence on stage, all the while embodying an angsty teenager.
Johnny, played by Corey Newman, is traumatized by a violent upbringing in an alcoholic household and by the most recent beating he endured from the Socs. While Newman tenderly portrayed his character’s jitters in the first act, he sometimes took Johnny’s reserved nature too far. He often physically closed himself off from the other actors, preventing the strong connection he shared with Ponyboy and the Greasers from translating from book to stage.
Despite early struggles, Newman began the second act with a renewed confidence.
As Johnny and Ponyboy hid out in an abandoned church evading arrest, Newman connected with Hart in ways he hadn’t previously, showing vulnerability, trust and bursts of courage. He leaned into Hart’s every word as Hart recited Robert Frost’s “Nothing Gold Can Stay,” creating a heartfelt moment that foreshadowed tragedies to come.
Ponyboy is raised by his two brothers after a car accident killed both of his parents. In the role of his oldest brother Darry, Alakwu Anozie was stern, authoritative and confident, enlivening a paternal tough-love dynamic with Ponyboy that grew softer through adversity.
With a swagger in their step and a smooth Southern accent, Zachary Miller’s commitment to the bad boy persona of Dallas allowed them to stand out among the many talented performances in the supporting cast.
Hayley Forbes as the Soc, Cherry, provided an insightful contrast to the Greasers’ rough temperaments. Amid sparks of fiery confidence, Forbes brought tenderness to her connection with Hart’s Ponyboy as the two learned to look beyond their social labels to understand each other’s perspectives.
Ranging from brilliant to lacklustre, transitions between scenes were a major inconsistency throughout the play. In a moment of true theatrical genius, one featured Hart standing in the spotlight at the front of the stage as he silently adjusted his clothes and smoked a cigarette while the stagehands worked behind him.
Others were backed by cheery 70s music as the crew worked in the darkness. But some transitions were devoid of any visual and auditory accompaniment, making for awkward and long transitions as the audience waited for the actors to reappear on stage.
Sound effects such as car engines revving and doors slamming were well-timed and provided important context to off-stage actions. The volume of the effects, however, sometimes overpowered the actors. This was most notable when the church was set ablaze, and the high volume of the fire crackling effects made the action hard to follow.
The production’s masterful use of lighting always succeeded in setting the mood of each scene, from the warm tones accompanying Ponyboy’s interactions under the sunset with Cherry, to the dominating spotlight that brought Ponyboy’s monologues to life.
Sock ‘n’ Buskin’s production of The Outsiders was poignant, endearing and heart-wrenching while staying true to Hinton’s beloved coming-of-age classic. The cast and crew highlighted that, despite differences in social class and identity, maybe we aren’t so different. After all, everyone watches the same sunset.
The Outsiders ran at the Kailash Mital Theatre from Feb. 8 to 11. Sock ‘n’ Buskin will take the stage next from March 22 to 24 to present their third and final production of the season, Murder on the Orient Express.
Featured image by Zane Labonté Hagar.
