Broadway on the Radio: 'The Outsiders'

Summary

Podcast Summary: Broadway on the Radio – ‘The Outsiders’ Cast on ALL OF IT with Alison Stewart

Podcast: ALL OF IT with Alison Stewart (WNYC)
Episode Title: Broadway on the Radio: 'The Outsiders'
Date: June 11, 2026

---

Episode Overview

This special live episode, broadcast from The Green Space in Soho, dives deep into Broadway’s acclaimed musical adaptation of S.E. Hinton’s The Outsiders. Host Alison Stewart is joined by the current Broadway cast—including Noah Pacht, Caleb Murtha Sequoia, Dan Barry Sutton, James Taylor, and Emma Pittman—to discuss the show’s resonant themes of chosen family, class, identity, and the power of honest connection. Interspersed with live musical performances, the conversation draws out the actors’ journeys with the roles, the show’s impact on modern audiences, and what it means to be part of a Tony Award-winning production.

---

Key Discussion Points and Insights

1. Setting the Scene—Live Performance and Introduction

• The event opens with a live performance of “Tulsa 67” by cast members, highlighting the story’s setting in 1960s Tulsa and the enduring rift between the Greasers and Socs.
  [01:43] “I’ve never been out of Tulsa before. I wonder what it would be like... My name is Ponyboy, the youngest of the three. I know there’s so much more to life than what’s in front of me.” – Noah Pacht as Ponyboy

---

2. Insights Into the Curtis Brothers’ Dynamic

• The Characters:

  • Ponyboy (Noah Pacht): The youngest Curtis brother, a sensitive writer and dreamer.
  • Soda Pop (James Taylor): The emotional heart and glue of the family, always smiling.
  • Darrel (Dan Barry Sutton): The oldest brother, forced into a parental role.

• Describing Ponyboy:
  [05:20] “He’s a dreamer, he’s an artist, he's a writer... The Greasers have to be tough. They’re kind of poor. They’re bullied by the Socs, and so he's a young person trying to find his way in the world.” – Noah Pacht

• Role Preparation and Rituals:
  Before each show, the cast chooses a “word of the day” as a thematic anchor, with Ponyboy journaling backstage.
  [05:48] “It has to be something true. So usually I'll write something about that word, like simplicity or joy.” – Noah Pacht

• Soda Pop’s Advice to Himself:
  [07:14] “Stop thinking about getting his heart broken... Move on, man.” – James Taylor

• Darrel’s Worries:
  [09:55] “His biggest worry is Ponyboy not reaching the success he knows he can get... I think he just kind of wants to not let his parents down.” – Dan Barry Sutton

---

3. Directing and Taking Ownership of Roles

• The cast praises director Danya Taymor’s approach, allowing actors to make the characters their own even when stepping in after original cast replacements. [10:48] “She meets actors where they are... She gives so much freedom to say, who are you? Bring yourself to the role.” – Noah Pacht

---

4. Why ‘The Outsiders’ Resonates—Youth, Honesty, and Chosen Family

• The relevance of The Outsiders to young audiences is attributed to its authentic teenage voice, with S.E. Hinton having written the original novel as a teen. [12:01] “It speaks to the young experience so effectively.” – James Taylor

• On chosen family as the core theme:
  [38:05] “Johnny lives for his chosen family because his home life is so brutal and dark. People like Dally and Ponyboy, they give him home... The whole story is about chosen family.” – Caleb Murtha

---

5. Dream Roles and Actor Ambitions

• Actors share their theatrical dreams and manifest ambitions:
  • [12:30] Noah Pacht: “I want to play Robin. As in Batman and Robin.”
  • [12:47] James Taylor: “Jack Kelly was a big dream role... Now, probably Melchior from Spring Awakening.”
  • [13:04] Dan Barry Sutton: “I’ve always loved Bye Bye Birdie... the character of Albert is awesome.”

---

6. Key Musical Performances

• “Throwing in the Towel” [13:24]

  • A pivotal Act 2 number exploring family pressure and mutual support during crisis between the brothers.

• “I Could Talk to You All Night” [19:55]

  • Showcases a rare moment of honest connection between Ponyboy and Cherry, transcending social divides.

• “Little Brother” [31:13]

  • Delivered by Sequoia as Dally, expressing loss, grief, and the desire for redemption.

• “Stay Gold” [45:37]

  • A reflective duet based on Robert Frost’s poem, reinforcing the theme of preserving innocence and beauty amid hardship.

---

7. Onstage Chemistry, Honesty, and Representation

• Cherry & Ponyboy’s Connection:
  [23:29] “Honesty is what flows between Ponyboy and Cherry... The ease in their honesty is what allows them to be so vulnerable with each other.” – Emma Pittman

• Reading as Escape for Ponyboy:
  [24:04] “Reading is his escape... anything that can take him to a new world. He’s got a beautiful imagination.” – Noah Pacht

• Broadening the ‘Opposites Attract’ Trope:
  [26:44] “This is about real love in the sense of friendship and being seen, rather than romantic love.” – Emma Pittman

• Representation of Race and Class:
  [41:17] Sequoia reflects on Dally’s portrayal as a Black man in 1967 Tulsa, noting the subtext of race and police brutality alongside the show’s themes of class struggle.
  “It exists. And, yes, the audience might feel like it's about class but for Dally, it's about race as well... But there’s this brotherhood he feels with Ponyboy despite everything.”

---

8. Behind the Scenes: Staging and Physical Demands

• The cast discusses the show’s demanding choreography—live rain, real dirt, stage combat, and set hazards. [39:53] “Navigating how to protect my body... ankle braces and knee pads built into costumes... the stage isn’t flat, the gravel builds up. You just have to be very aware all the time.” – Caleb Murtha

• Injuries are common; everyone has to adapt and watch out for themselves and each other.

---

9. Moments of Connection With the Audience

• Actors cherish moments when they can perceive the audience’s emotional response.
  [44:10] “That’s my favorite part. I see people in the front row literally singing straight to Ponyboy... There’s someone crying, a child holding their parent’s hand. It’s beautiful to see how the show touches people.” – Sequoia

---

10. Legacy, Growth, and Community

• Emma Pittman reflects on witnessing the show's growth:
  [28:16] “We just hit our 900th show—it's the longest thing I've ever done. It’s such a beautiful story that touches people’s hearts, and it’s exciting to see new people step into new roles and keep it alive.”

• Noah Pacht credits Emma for her leadership and kindness in welcoming new cast members, fostering a supportive backstage culture. [29:23] “Emma is like the perfect example of showing up, of leadership. She wrote this little note for me that I still have in my dressing room: ‘Hop on the train and ride it and it’ll take you where you need to go.’”

---

Notable Quotes

• On Director Danya Taymor:
  [10:48] “She gives so much freedom to say, who are you? Bring yourself to the role.” – Noah Pacht

• On Why the Story Connects With Youth:
  [12:01] “It just speaks to the young experience so effectively.” – James Taylor

• On Chosen Family:
  [38:05] “Johnny lives for his chosen family, because his home life is so brutal and dark... The whole story is about chosen family.” – Caleb Murtha

• On Stage Demands:
  [40:29] “It’s a hard show. We got certain injuries on that stage, there’s metal everywhere, fire coming out of places—it’s everything.” – Sequoia

• On Racial Subtext:
  [41:17] “For Dally, it’s about race as well... There is still this brotherhood with Ponyboy, and despite the times, that’s the power of the story.” – Sequoia

• On Audience Connection:
  [44:10] “That’s my favorite part. I see people in the front row singing straight to Ponyboy ... someone crying ... It’s so beautiful to see how the show touches people.” – Sequoia

---

Timestamps for Key Segments

• Tulsa 67’ Opening Performance: [01:43]
• Curtis Brothers Interviews: [05:05 – 10:31]
• On Director Danya Taymor: [10:32 – 11:44]
• Young Adult Literature & Resonance: [12:01]
• Dream Roles: [12:22 – 13:20]
• “Throwing in the Towel” Performance: [13:24 – 18:35]
• Ponyboy & Cherry Interviews: [23:27 – 27:31]
• Long-Term Cast Reflections: [28:03 – 30:12]
• “Little Brother” Performance & Discussion: [31:13 – 36:06]
• Chosen Family and Rumble Scene: [38:00 – 41:02]
• Race and Representation: [41:02 – 42:59]
• Audience Connection Moments: [44:07 – 44:48]
• “Stay Gold” Performance: [45:37 – 49:21]

---

The Cast

• Noah Pacht – Ponyboy
• James Taylor – Soda Pop
• Dan Barry Sutton – Darrel
• Emma Pittman – Cherry
• Sequoia – Dally
• Caleb Murtha – Johnny Cade

---

Episode Tone & Takeaways

The tone throughout the episode is warm, open, candid, and celebratory—a vibrant blend of musical performance and honest conversation. The actors’ passion for the material and their commitment to authenticity in their roles shine through, as does the show’s ethos of empathy and connection. For newcomers, the episode offers a rich behind-the-scenes look at Broadway’s The Outsiders and the power of live theater in fostering community and belonging—on stage, backstage, and in the audience.

Transcript

[Alison Stewart]

This is all of it on wnyc. I'm Alison Stewart. We're live in the green space in soho with a special episode of all it for your. Today it's Broadway on the Radio. We're here with the cast of the Outsiders. The Outsiders is a hit adaptation of S.E. hinton's classic novel set in Tulsa in 1967. The the Fight between the greasers and the social cliques. The socials. But also a fight to maintain family and chosen family. The outsiders won the 2024 Tony Award for best musical. Now, a few months ago, the cast had a major cast replacement. And if you haven't had a chance to see them, you will get to meet them. Today. We have on stage with us Noah Pact, Caleb Mertha Sequoia, Dan Barrett Sutton, James Taylor, an original cast member, and Emma Pittman. And behind them, let's hear it for the band. I want to give a shout out to the mayor's office of Media and Entertainment for featuring this month in the Radio City lineup of New York Music Month. Now, if you're not here with us in person or listening to us, you can see the shindig by going to wnyc.org we can catch a live stream of today's broadcast. Now, to set the scene, here's the cast of Broadway's the Outsider singing Tulsa 67.

[Noah Pacht]

I've never been out of Tosa before. I wonder what it would be like. I've never known anybody to leave. Most people get stuck here for life. My brother could have been a football star. People say he had a ticket out. My other brother suffers from a broken heart from a girl he loved, threw up and moved away. We got no parents. We fend for ourselves. There's no one to show us the way. My brothers are trying, but they're always out just working their poor lives away. My name is Pony Boy, the youngest of the three. I know there's so much more to life than what's in front of me. So I sneak into the movies just to glimpse the other side. Rather take the risk and see it than to never even try. When I am looking up and Newman's on the screen, the entire world just melts away. And for a moment, I'm not worried about a thing. I just sit back and let the movie starts playing. But unlike in the movies and the books I like to read, nothing in this town plays out the same. They tell me it was different back when we could all agree. But somewhere down the line we lost our way. We had places to go. We had things to do. So they took one town and they split it in two. All the money went west, kicked the Greece to the east. The train ran down the belly of the beast. Here we are now. I'm talking to you. When I get to the end, to me, what do I do in a town that's torn into what, secrecy from the east side supposed to do? Oh, this is chosen 1967. And there's just one thing you need to know. You got research, associates. That's how it's always been. That's probably how it's always gonna go in a town that's sort of. That's probably how it's always going to go.

[Alison Stewart]

That was the Outsiders. All right, I want to talk to the Curtis brothers. Y' all get up.

[Emma Pittman]

Ready?

[Alison Stewart]

How are you?

[Dan Barry Sutton]

I'm wonderful. How are you?

[Alison Stewart]

Hi. I'm doing well. Noah, how would you describe ponyboy?

[Noah Pacht]

Ponyboy is 14 years old, growing up in Tulsa in the 60s, and he's a dreamer, he's an artist, he's a writer, and he's sort of in this world where maybe people don't understand who he is and where he comes from. The Greasers have to be tough. They're kind of poor. They're bullied by the Soches, and so he's a young person trying to find his way in the world.

[Alison Stewart]

When you come out on stage, you sit on that tire. What are you thinking about as the show gets to start?

[Noah Pacht]

That's a great question. Yeah. So before the show officially starts, I walk in from the back of the house. I get to kind of subtly connect with the audience, and then climb on stage, sit on that tire, and I have a journal open. And we've kind of talked with our. With our directors, with Donya Taymor and Autumn and Miranda, who are associate directors about what that moment is. And it has to be. The rule is you can write whatever you want if you're playing Ponyboy, but it just has to be something true. So, like, backstage before the show, our cast will come together, and there's usually, like, Emma has these cards that have a word on them. We'll pick a word of the day, and that's sort of the anthem for the show. So usually I'll write something about that word, like simplicity or joy, you know, like something like that.

[Alison Stewart]

Yeah. Sutton, how would you describe Tony Boy's role in the family?

[James Taylor]

Yeah, I play Soda Pop, so I'm the middle brother of the family, and he's described at the very beginning of the show as soda smiles. All the time, even when he probably shouldn't. And so that's kind of what I take that and try to use that throughout the show to set a foundation for my character. But I really. It also is described. He's described as the heart and soul of the family and kind of as the emotional glue that keeps this family together, particularly in the second act. He does a lot of maturing as the show goes on, and this song that we'll sing shortly is a big moment and turning point for Soda in the show. So.

[Alison Stewart]

Yeah, what advice would you give Sota at this point in his life?

[James Taylor]

Stop thinking about getting his heart broken, because a lot of the show, he's devastated from his ex girlfriend who left town. And I would say, move on, man.

[Noah Pacht]

You got so much life to live.

[Alison Stewart]

So Daryl, he's in a hard role, man. He's got to be parent. The whole family, the parents have passed away. What's interesting to you about his relationship with his brothers and then with the Greasers as a whole?

[Dan Barry Sutton]

Yeah, I mean, I think, you know, Daryl's role in the show is he's basically playing his parent, their parents, and he has to kind of raise them, I think. I don't know. I mean. I mean, what's the first part of that question?

[Alison Stewart]

What is his relationship to his brother

[Noah Pacht]

and then to the Greasers?

[Dan Barry Sutton]

Okay, well, to the Greasers, because we already know he's the parent. So to the Greasers, I think he's kind of like, he's trying to be the alpha. I think he was in charge, but I think because of the loss of his parents, he has to kind of step down from that role and be obviously a parent. So Dally has stepped forward and taken over that role, and him and Daryl don't get along about that and how he chooses to try to raise his brother.

[Alison Stewart]

So, yeah, you know, Noah Ponyboy has to sort of narrate the show. How do you think about your performance differently when you're in the show versus narrating?

[Noah Pacht]

Yeah, that's a great question. Because there's a very thin line I ride between being in, like, every present moment in the scene and then being connected with the audience and breaking the fourth wall and explaining what's happening. And so I think that's kind of part of the fun of the show as an actor, to get to really quickly shift between being in this world and being in this world. And so I think it's kind of like I always have one foot in both worlds, and you can kind of see how the audience is how they're ruminating with the show and try to connect with the people on stage. So I think it's really just about the eyes. You find the eyes of whoever you're talking to, and then the rest kind of happens naturally.

[James Taylor]

Yeah.

[Alison Stewart]

Why do you think Soda Pop just doesn't let the two brothers fight it out? Ponyboy and Daryl?

[James Taylor]

That's a good question. There's. He does until he doesn't. I think, especially at the end of the show, once all of the events have unfolded, he kind of reaches a breaking point. And I think it's about, like, once again, like, being the glue of the family. And since they're so different from each other, I think Soda is kind of what keeps us together in that sense. But why. Why doesn't he let them. What was the exact.

[Alison Stewart]

Maybe because he loves them.

[James Taylor]

Yeah, sure. Because he loves them.

[Noah Pacht]

Yeah, that's what I thought.

[Alison Stewart]

Because he loves his brothers. You know what's Daryl's biggest worry for Ponyboy?

[Dan Barry Sutton]

Oh, him not reaching the success that he knows he can get. I think, you know, Daryl and Sodapop's lives were kind of put on halt, and I think Soda's more than okay with that. And I think Darrell understands his role, but I think for Ponyboy, he still has so much ahead of him. He's the brightest, as we know. And, yeah, I think he just kind of wants to not let his parents down. You know, I think that's a huge weight that he's been given, but he obviously stands up to the plate because he loves his parents, and he does it for them and for his brothers and.

[Sequoia]

Yeah.

[Alison Stewart]

Now, Noah, you worked with Donya Taymor on John Proctor as the villain.

[Noah Pacht]

Yeah, I did.

[Dan Barry Sutton]

Yeah.

[Noah Pacht]

That was my Broadway debut. Yeah.

[Alison Stewart]

And yes. And Donna Taymor directed this as well. The Outsiders as well. What was something you learned about her as a director that helped you in the Outsiders?

[Noah Pacht]

Dude, I'm such a big fan of Donya Taymor. I think that's part of it, is I was a fan of the Outsiders just as a show before even doing John Proctor's the Villain. So getting to meet her in that audition was really exciting in its own right. Just as a fan of the Outsiders, because I was like, whoa, this is the woman who made that show. That's crazy. But I think the thing that makes her really unique as a director and so accomplished is that she meets actors where they are, especially for both times, understudying in John Proctor's the Villain and then coming in to a show that's already been established. That's twice now that I've worked in roles that have been originally played by someone else. And I think that's kind of a. It can be a tricky job as an actor if a director doesn't give them freedom to say, you have to find your own way in. And Danya does. She gives so much freedom to say, like, who are. All of us are playing roles that have also been played by other brilliant actors. And so like, to have the courage and confidence to bring yourself to. It takes a lot of reassurance from a director, and she, I think, gives that to us.

[Alison Stewart]

You know, this book really sort of established YA young adult literature as a serious form. Why do you think this story resonates so much with young people? We had people out there at 8am waiting to get in here.

[James Taylor]

Well, I think a large reason is because Essie Hinton was in high school when she wrote it. And it just speaks to the young experience so effectively, I think. And then, you know, into our musical, we try to implement that same thing and try to connect with young audiences as much as possible in the work. Yeah, yeah.

[Emma Pittman]

All right.

[Alison Stewart]

We have a lot of Broadway directors and producers who listen to this show. So I'm going to ask you, you know, what's your dream role?

[Noah Pacht]

For a long time it was Ponyboy, so now I got to think of a new one. Oh, man. Oh. Oh. I want to play Robin. As in Batman and Robin. Like Robin. I want to. In the DC Universe. I want to be Robin.

[Alison Stewart]

Robin.

[Noah Pacht]

Okay.

[Alison Stewart]

How about you?

[James Taylor]

Jack Kelly was a big dream role of mine growing up, and I got to do it out in Utah two summers ago at a small summer stock. So that checked the box. But I suppose now I would say probably Melchior from Spring Awakening.

[Noah Pacht]

Hey, how about you?

[Dan Barry Sutton]

I feel like. I don't know, I always. It's kind of cliche, but I feel like it's out there. Like I want to kind of build something. But I feel like in my past, I've always loved Bye Bye Birdie, and I think the character of Albert is awesome.

[Caleb Murtha]

So you heard it here.

[Alison Stewart]

I put it in. It's out in the universe.

[Noah Pacht]

Make it happen, guys.

[Alison Stewart]

We're going to hear throwing in the towel. Do you want to set this up for us real quick?

[Sequoia]

Yeah.

[Dan Barry Sutton]

This happens in Act 2. Ponyboy and Johnny Cade have just fled Tulsa because of something, and Daryl is trying to figure out what's going on, find them. And Dally is not providing the information, so they get into a little fight a Little tiff. And Daryl feels like he's at the end of his rope. He's losing a lot of hope. And Mr. Sodapop here consoles him. And you want to continue that.

[James Taylor]

Yeah. So Daryl's almost broken in this moment, and it's really Sota's responsibility. Like I said, this is when he's really finding the maturity that he hasn't really found in the past before. And so this is him stepping up as the middle brother without parents to take care of his older brother for the first time. And I think it's a large part of, you know, hey, you've been there for me all these times and now let me be there for you for the first time. And that's kind of what I think about every night.

[Alison Stewart]

Yeah, this is from the Outsiders,

[Sequoia]

So

[Noah Pacht]

I'm really a mess. Every night I worry myself to sleep while you're watching cartoons.

[Dan Barry Sutton]

There ain't nothing I can do for you.

[Noah Pacht]

I know that Pony boy's really got

[Dan Barry Sutton]

a damn good heart Something bout him

[Noah Pacht]

that really could take him far but

[Dan Barry Sutton]

I keep holding him down I've run this family right into the ground.

[Noah Pacht]

Maybe you'd be best without me I don't know what else to say I lost our brother and I lost my way I think a fool could have done better Maybe I've been afraid to say that I'm just not cut out for this Just another floor failure on a growing list and it's harder now than ever it's more than I can take There ain't no one to bail me up There ain't no saving this enough I think I'm throwing in the towel. On the days when you're feeling like you're torn into making dinner bin bills that are overdue you think that I don't see you'd go to hell if it was left up to me and I don't know what we would do if you were not around no one to keep the ship afloat when it's going down Daryl, I need you

[Emma Pittman]

and

[Noah Pacht]

anyone can see that Pony does too. I know you love him. That's all you gotta do And I don't know what else to say. I know you feel like you've lost your way but I think you're doing better. Better than you know. If he comes back, there's a price to pay. What if they like our brother?

[Sequoia]

Wave.

[Noah Pacht]

There ain't no way of knowing we gotta get our brother home. This is the darkest hour of the darkest night. You're looking up ahead you can't see no light but the time is now? Now never? There ain't no letting go? You might feel like you give it out? We need you more than ever now? Don't go throwing in the towel? Yeah, I know your head is full of doubt? But brother, that's what love it's all about? Don't go throwing any towel? When you love someone that's all that you can do? There ain't no throwing in the town.

[Alison Stewart]

Dan Barry and Sutton James singing Throwing in the towel for on Broadway's the Outsiders. We have more music on the way. This is Broadway on the radio from all of it on wnyc. This is all of it on wnyc. I'm Alison Starrtt and we are in the green space at WNYC with a special Broadway on the radio event. We're here with the cast of the Outsiders. If you're listening on the radio, you can go to wnyc.org to watch a live stream. And I want to give a shout out to the mayor's office of media and entertainment for featuring this event in the Radio City lineup of New York Music Month and for making this event free. So thank you very much. Find out more by going to newyorkmusicmonth, nyc. Now please welcome Emma Pittman, who plays Cherry, the queen of the socias, and Noah Pacht, who plays the bookish greaser pony boy. We'll call him that. With a song about discovering what you might have more in common than you think this is. I could talk to you all night.

[Emma Pittman]

I was under the impression you'd never read a book at all Too wrapped

[Noah Pacht]

up in your aggression

[Emma Pittman]

out on the street and fighting bros and now you're

[Noah Pacht]

talking about the sunset

[Emma Pittman]

and how the colors turn bright

[Noah Pacht]

Suddenly it seems that I could talk to you for hours

[Emma Pittman]

but these hours go like minutes I

[Noah Pacht]

could talk to you all night.

[Emma Pittman]

I never talk like this with socious we keep our feelings to ourselves I tell my friends I like their parties wishing I was somewhere else

[Noah Pacht]

I know exactly what you're saying you gotta fake it you belong I'd rather read than fight or rumble but greasers have to go along it's like you're always just pretending it's just a party you have to play Feels like this pressure's never ending there's gotta be a better way but with you it feels so simple Something about about this feels right Suddenly it seems I could talk to you

[Emma Pittman]

for hours

[Noah Pacht]

but these hours go like minutes I could talk to you all

[Emma Pittman]

night

[Noah Pacht]

I don't want this night to

[Alison Stewart]

end

[Noah Pacht]

I bet our friends are wondering where we've been can you imagine what they say if any of them were to start this way? Now don't get me wrong When I

[Emma Pittman]

say I'm surprised But I never thought I'd see hope in your eyes it makes me believe that there may be

[Noah Pacht]

a chance the world beyond the gracers and the ship this could it ever be? Suddenly it seems I could talk to you for hours but these hours go like minutes I could talk to you all night.

[Alison Stewart]

That was Emma Pittman and Noah Pack singing I could talk to you all night from Broadway's the Outsiders. Let's hear it for the band one more time.

[Emma Pittman]

Right,

[Alison Stewart]

Emma. Why did Cherry and Ponyboy connect?

[Emma Pittman]

I always think it's about being honest. I think that's so much of being a person, but especially being a teenager in a place where there are things put on you and, you know, ideas put on you. When you first walk into a room, there's a lot of masking that goes on. But for the first time, for whatever reason, honesty is what flows between Ponyboy and Cherry. And I think the ease in their honesty is what allows them to be so vulnerable with each other.

[Alison Stewart]

The song starts with the lines. I was under the impression you never read a book at all.

[Noah Pacht]

No.

[Alison Stewart]

What does reading mean to Ponyboy?

[Noah Pacht]

Reading is his escape. I think everyone in Tulsa at this time lived in a dark time and place, and there's a lot of violence between the Sochis and the Greasers. There's a lot of violence in within just the Socials, within just the Greasers. And I think books are a sort of fantasy escape. You know, it's like, in the way people love theater. It's like Ponyboy loves movies as well. He loves anything that can take him to a new world. He's got a beautiful imagination.

[Alison Stewart]

There's a saw, there's a song, a song. A song in the show called Great Expectations based on Charles Dickens. Did you read that?

[Noah Pacht]

I did. I did read that.

[Alison Stewart]

I read that on the Internet. But I want to know if it was true.

[Noah Pacht]

It is true. When I moved to New York, I bought a copy of Great Expectations and I wrote the opening lines of that song, which is, excuse me, Mr. Dickens, I've got something on my mind. In, like, January 2025 or something before I had an audition, just knowing that the day would come, hopefully, and I'd be ready. So it was kind of like a. I don't know. It's my little. My little secret. I would like bring the book with me to the audition and stuff.

[Alison Stewart]

What was helpful for you to play Cherry?

[Emma Pittman]

Oh, I think that a lot of Cherry is true for me. I grew up in a small town in Mississippi and I felt very, very connected to her when I was a kid when I read the book. I also did the play version of this show when I was in the 10th grade. And I got to play Marcia, which is Cherry's best friend. And I just fell in love with Cherry. I love the idea that she was radically honest with Ponyboy and also with her friends eventually. So finding the courage to stand up for what she believes in is something that I'm not necessarily very good in personally. So it's exciting to lean into that, to lean into her every night and also, like, pay homage to this, like 8th grade Emma that felt so connected to her when I was so small.

[Alison Stewart]

There's a tradition of you handing out a copy of the book to someone in the audience. How do you decide who you hand the book to?

[Noah Pacht]

Oh, it's a very. It's a vibe based experience. It's very much an essence thing. There is something magical about that moment for me. And so I don't ever want to choose it. You know what I mean? So it's like I don't ever. I don't ever like, want to promise anyone before anything like that because I think it should just be like the. The wand chooses the wizard. You know what I mean? Like. Like it'll just kind of happen naturally. So it just depends, you know, I get to connect with the audience and I'll see usually in the last 10 seconds before I give it away. I'll just look in people's eyes and I'll just kind of see who needs it that day. I guess.

[Alison Stewart]

So many love stories are about people from opposite sides of the world falling in love. Why do you think, what do you think the Outsiders bring to this particular model? This is a regular trope, but the Outsiders is a little bit different. What does it bring?

[Emma Pittman]

I think that it brings real love in the sense of friendship and being seen, rather than romantic love. I think while sure, there is definitely a crush between Cherry and Ponyboy, I'm not saying that it's not true, but I think what is more true is their ability to see each other for who they really are on the inside. And I think that's really important for young people. I think that's why Susie wrote the book at 14, because she felt like she saw people trying to be someone that they weren't and no one was being for real. No one was being honest. And so that's why she decided to write this, because she was like, no one is writing what I see, which is all of this violence, all of this fake, all of this, you know, fighting for things that we don't even know why we're fighting. And I think that having this, like, trope of love, but allowing it to be real and I think is what's important for this story.

[Noah Pacht]

Yeah, I agree. I also think there's something interesting about the relationship with Pony and Cherry that. I don't know if you tell me if you agree with this, but it feels sometimes like Pony allows Cherry to be a little bit messier in the way that the greases are, and Cherry allows Pony to be a little bit cleaner. And it's like, I have to keep this front as Pony Boy in front of the greasers of being tough and being rugged. And I feel like there's this piece, I find, with Cherry of it's like, opposites attract kind of thing, whether it's friendship or whatever. This kind of, like, in between thing that the relationship is. There's a. There's a balance they find in each other, a nuance. Yeah.

[Alison Stewart]

Now, Emma, you've been with the show from the beginning. Yes. Right. What has it seen, like, what has it been like for you to watch the show grow from, oh, my gosh, are we going to make it to, oh, yeah, we got a Tony Award.

[Emma Pittman]

It's been such a gift. I think that we just hit yesterday. Our matinee was our 900th show, which is crazy. And it's the longest thing I've ever done in my whole life. And I think the thing that I keep coming back to is it's such beautiful writing. It's such a beautiful story that we can all relate to. It's something that touches people's hearts. Whether you see yourself in Ponyboy or you see yourself in Bob or you see yourself in Cherry. Like, it touches you in different ways in your life. And I think that it's been so exciting to see new people step into new roles. Like Dan Barry originated the part of Paul, and now he is taking on this beautiful journey as the older brother. And it is so gorgeous and nuanced and true because the writing is so excellent and it holds people, just like Noah was saying. Danya allows the writing and the direction to hold every single person as they are in their own characters. And that's why I think it's going to continue on and being alive and touching the hearts of young people and all people alike.

[Alison Stewart]

We're going to talk about you like you're not here.

[I]

Okay.

[Alison Stewart]

What have you learned from Emma about being on Broadway, about being in this show?

[Noah Pacht]

So much. Emma is like the. I can't speak highly enough about. She's like the perfect example of showing up of leadership. I feel like Emma is the epitome of responsibility. Like, you show up on time, you lead by example, you help all the new people. Like, so we had our put in, which if you don't know what a put in rehearsal is, it's the day before your very first show. You do a full run of the show. It's. It's the show in every way except there's not an audience. So costume and makeup and blood and everything. And I was more nervous for the put in than I was even for the first show. Like, I was terrified. I was freaking out. And Emma just, like, wrote this little note for me that I still have in my dressing room that just said, hop on the train and ride it and it'll take you where you need to go. It's like along those lines. And that's kind of the spirit that she brings to the show. She's looking out for everyone, everybody.

[Alison Stewart]

Emma Pittman and Noah Pakman. Outsiders. We've got more music on the way. This is all of it. This is all of it on wnyc. I'm Alison Stewart. We are live in the green space at WNYC with a special Broadway on the radio event. If you're listening on the radio, you can watch SWNYC.org I'm here with the team from Broadway's the Outsiders. Our next song will be sung by Sequoia as Dally, the tough greaser who just got out of prison is risking it all to help Ponyboy and his pal Johnny. This is little brother.

[Sequoia]

First they beat us down. One after another. Keep losing ground. Nowhere to take over. They want us out of town. Then who would they be on? Who would they spit on? Who would they blame it on if we weren't around? Now we're never going back. Everything is lost and we'll never get

[Alison Stewart]

it back

[Sequoia]

Cause a line's been crossed

[Noah Pacht]

Little brother, sorry I failed you I could not save you

[Sequoia]

no, I can't even save myself

[Noah Pacht]

Little brother, They cannot hurt you anymore they cannot take anymore

[Sequoia]

from me if I ain't got you then I ain't got nothing else. If anything was fair. You would still be here. Does anybody care when a greaser disappears? We're never going by. Everything is lost and we'll never get it back.

[Noah Pacht]

Cause our line's been crossed Little brother Little brother. Sorry I fail you I could not save you no, I can't even save my.

[Sequoia]

Save myself.

[Noah Pacht]

Little brother. They cannot hurt. They cannot hurt you anymore Anymore from me. If I ain't got you, if I ain't got till then I got you and I ain't got nothing else.

[Sequoia]

There's only one way out. I finally see that now. They took the only thing that mattered to. To me anyhow. That's why I'm standing here. No good to run away that's all I've ever done but now it's time for me to stay do it for all of us the faces in the crowd and when they try to shut you up? You scream it twice as loud do it for Cool Hand Luke do it for Jesse James do it for all the unsung heroes who don't know their names do it for Pony Boy. Do it for Johnny Cade don't leave a stone unturned don't leave a dead

[Noah Pacht]

Uncle Johnny I am coming home about

[Sequoia]

to take my final bout.

[Noah Pacht]

Hope you saved a seat for me, Johnny. Can you save.

[Alison Stewart]

That? Was Sequoia singing Little Brother from the outside. This is Broadway on the radio. Let's bring to the stage Caleb Matour, who plays Johnny Cade. It's nice to see you as well. That's all I gotta say. Dally sings in that song. Everything is lost. How has Dally changed from when we first meet him to that moment?

[Sequoia]

Tremendously, I think. When you first meet Dali, like, he's been running from here to there, there to here, and coming out of prison, thinks he knows everything, you know, and his only way to connect is through violence. Like, that's all he knows. And then he meets Johnny, he meets Ponyboy, spends some time with them, sees the family that Ponyboy has with Daryl and Soda, and, like, even though they just lost their parents, I think there's something envious that he feels and wishes he could have that, you know? And then it's also, like, alpha male. That's his whole personality. So it's like, you know what? Daryl's over there. I'm gonna come and take charge of the greasers, you know, and I'm gonna take this off this just. Cause it keeps falling. And when we hit Little Brother, I think actually at the hospital scene, you know, like, when. When they're in the fire and the church scene, is when I think Dally truly decides to, like, stay and not leave and stay to protect Johnny, Stay to protect Ponyboy, you know? Cause he knows, right? And by little brother, he lost the one thing he chose to stay for, you know, so he doesn't have any other tools, so he. The only way is out, you know? And. Yeah.

[Alison Stewart]

How do you see this show, Caleb, being about chosen family?

[Caleb Murtha]

I think that it's at the root of everything. I mean, Johnny lives for his chosen family because his home life is so brutal and dark, and people like Dally and Ponyboy, they give him home the physical and the emotional. And I think specifically with Johnny and Dally's relationship, they counterbalance each other. Johnny kind of gives Dally peace, and he. Dally, gives Johnny that rebellion that saves Ponyboy's life. So I feel like the whole story is about chosen family. I think it's the most important part for me, at least.

[Alison Stewart]

Sequoia, you said after watching the Tonys and seeing the rumble scene, if you haven't seen this, go home, watch this. When they did it on the Tonys, it's amazing that it really struck a chord with you. What about that scene really touched you or spoke to you?

[Sequoia]

I don't think I've ever seen anything like it on stage. The live rain, it was just like. I think the whole. The scenic team did such a good job of having the set feel like it's alive. Like, you feel like it's a playground where kids live. Like, you know, there's the car, there's the dirt on the stage, and you throw it. You can. You can use it. You can use everything. And the blood and the sound effects, the lights, everything. And then. And of course, the rain on stage, and then the slow motion part, just everything. How they told that part of the story was something that I don't think I've seen. You know, I've seen rumbles, right? Like, I've done West side, and west side is one of my favorite musicals. And it was just immediately I was like, okay, like, let's see what this rumble is gonna be like. And then it was like I was like, whoa.

[Alison Stewart]

Yeah.

[Sequoia]

You know? So, yeah.

[Alison Stewart]

What's challenging for you, Caleb, about the setup? Because there is dirt, there is raid. So much is going on. What did you have to learn?

[Caleb Murtha]

I think it's just navigating how to protect my body. I get thrown around a lot, and I have ankle braces and knee pads. Like, we're all. We have our armor for the show. It built into our costumes, which is nice. But just, like, the rakes on the stage, like, there's moments during Stay Gold where I have to kind of use my peripheral to go up and over so I don't trip over something. And there's just a lot of balancing

[Noah Pacht]

because it's not flat.

[Caleb Murtha]

Like, the gravel will naturally build up and create little pockets of bumps, and you just have to be very aware all the time. Yeah, and it's always changing, too.

[Alison Stewart]

What's been. What's been has been a challenge for you.

[Sequoia]

Yeah, I mean, you know, we've had certain. You know, it's a hard show. Like, we got certain injuries on that stage. There's metal everywhere. There's fire coming out of places. Like, it's just. It's. It's everything.

[Alison Stewart]

There's rain, there's fires, all kinds of stuff going on.

[Sequoia]

Sometimes I'll get. I'll get like a bum, and I'm like, oh, why do I feel like I'm sore here? And I was like, oh, I bumped my shoulder right then when I walked. You know, like, there's just things you gotta watch out for. And I think. And that only takes time. That only takes time. Like, you gotta do the show. Gotta do the show. Gotta keep your eyes open, ears open, everything.

[Alison Stewart]

It's interesting. In this version of The Outsiders, it's 1967. Dally is black. I mean, Loving versus Virginia was just passed that year. Allowing interracial marriage. Why is that an important aspect to his story, him being black?

[Sequoia]

Thank you for that question. I think it's. It's interesting because the story's about class, you know, and you don't leave the show being like, oh, this is about race, you know, but it's there. Like, Dali is a black man. Dally does. There is police brutality in the story, you know, and there. But there's. And there's also the vulnerability that Dally gets to show at the end. And little brother is like, everything, you know, And I feel like staying true to the kid essence and showing how a young black man is at this time. And you could. You are this vulnerable. You have the power to be this vulnerable. You could find family this way. Like. And it's also, like, majority of the Greasers is. You know, we're sort of all people of color, but the main family are white, so. And it's like, there is still this, like, brotherhood that he fills with Ponyboy. And despite the times, despite everything, you know, I think that's the power of the story and the power of the love that is shared through, like, young people. So, yeah, I'm sorry, I'm kind of going on a tangent, but, like, it's it exists. And I think something that I've recently learned is, like, yes, the audience might feel it's like, oh, it's class and. But, like, for Dally, it's about race as well. Like, that doesn't. That doesn't not exist for him. Like, it's very apparent. That whole scene with Daryl, you know, he starts pointing the fingers at, oh, you should be locked up, all these things. And it's like, oh, this exists. You are a white man, I'm a black man, and I'm still gonna choose to take care, you know, just all these things. So I'm gonna just let out that

[Alison Stewart]

it was all good. Thank you so much for sharing and being candid about that. I heard that you made a voice memo to yourself that you would be in this show. Is that true?

[Noah Pacht]

Yeah.

[Caleb Murtha]

I saw the production in La Jolla, in San Diego, before they went to Broadway. And I, as soon as I left the theater, pulled out my phone and I was like, I gotta play Johnny Cade one day. Similar to Sequoia, watching the Rumble. I just never experienced anything like that in a theater before in my life before. And I was second row. And I just remember just being so in awe and feeling this very strong connection to sky, who originated the role, and Johnny as a character. And just. It was wild because I saw the show on March 1, 2023, which is also. I found this out a couple weeks ago, Johnny Cade's birthday, because Susie has birth dates for everyone. And I shadowed sky for the first time on March 1, 2026. So there's three March 1 that just keep popping up with me and Johnny, which is wild.

[Alison Stewart]

There's something going on with this cast and the universe and setting stuff out, putting stuff out there.

[Noah Pacht]

Right?

[James Taylor]

Yeah.

[Alison Stewart]

There's a moment in the show when you're on stage, Sequoia, and you're not lit and the audience can't really see you, but you can kind of see us.

[Sequoia]

Yes. Great excuse.

[Alison Stewart]

What did you get to see in those moments?

[Sequoia]

Oh, yeah. Oh, yeah. That's my favorite part. I see people in the front row literally singing, like, straight to Ponyboy. Everything that he's singing right back to him. Everyone, there's someone crying over there. There's. There's like a child holding their parents hand, like, squeezing it. Like, it's so beautiful to see how the show touches people. And that's the moment that I think I can see it. There's not many moments as Dally where I can, like, okay, I can just connect with the whole. See, okay, that person's asleep. No. Okay. That person. You know what I mean? But, yeah, it's Great Expectations. That moment, it's really cool.

[Alison Stewart]

All right. No, I want you to come on deck. Caleb. We're about to hear the song Stay Gold. It's the song where Caleb tells Ponyboy that he understands the meaning of Robert Frost's let's hope he gets it set up where he understands what Robert Frost's poem is about. Caleb, what are you thinking about when you sing this song?

[Caleb Murtha]

I try to just be as present as possible. I think it's easy to just think about the lyrics and not forgetting anything. But I found that just looking at Noah and being as dropped in as possible is kind of all you need for that moment in the show.

[James Taylor]

Yeah.

[Alison Stewart]

This is Stay Gold from the Outsiders.

[Noah Pacht]

I have had some time for thinking Swore I wasn't ready to die Turns out I was wrong it might sound crazy but hear me out it may take me to the grave But I know what your poem's about. I have seen a pool of blood run crimson red and I've seen the sunrise coming overhead Finding beauty in the fold it's the only way to keep from growing old my friend stay gold when you're young and the world is new it's easy to forget when you're trying just to make it through

[Alison Stewart]

like

[Noah Pacht]

the morning light and the dawn it brings you see the world finding beauty in the simple things I have looked into thankful father's eyes Telling me I saved his daughter's life I do it all again Cause I have found the beauty in the fold my friend stay gold. Looking back at the life I've had I hold on to the good cause I've made my peace with all the

[Sequoia]

bad

[Noah Pacht]

16 years look at all your

[Sequoia]

done

[Noah Pacht]

Wouldn't trade it for the world can't you see that we're the lucky ones? I have known a love that many never know and that love lives on no matter where I go we all will meet our end no matter if we meet it young or old My friend stay go. My friend stay go.

[Alison Stewart]

Thanks to the cast of the outsiders, noah pacht, caleb murta matura.

[Noah Pacht]

Sorry.

[Alison Stewart]

Sequoia dan, barry sutton, james kaler and emma pittman. Let's hear it again for the band. You can catch the Outsiders on Broadway and catch this event on our live stream. Thanks again to team all of it. Simon close produced today's events and our Broadway on the radio series. Thanks to Ryan Wilde and the whole team at the green space. Thanks again to the mayor's Office of Media and Entertainment for featuring this event in our Radio City lineup of New York Music Month. I am Alison Stewart. Thank you so much for being here. Stay with us. We really appreciate you joining us here on our Broadway on the Radio Series event.

[I]

WNYC Studios is supported by AT&T, AT&T Summer it's when we share more time, more memories and more photos and at ATT the iPhone 17 Pro is your summer essential. Its center stage front camera auto adjusts the frame to fit everyone into group selfies. Right now at, at and t ask how you can get iPhone 17 Pro on them with eligible trade in requires eligible plan Terms and restrictions apply. Subject to change. Visit att.comiphone or visit an ATT store for details. WNYC Studios is supported by Odoo. When you buy business software from lots of vendors, the costs add up and it gets complicated and confusing. Odoo solves this. It's a single company that sells a suite of enterprise apps that handles everything from accounting to inventory to sales. Odoo is all connected on a single platform in a simple and affordable way. You can save money without missing out on the features you need. Check out Odoo at O D O o Com. That's O D O o Com.