Exclusive Interview: How ‘The Outsiders Musical’ Helped Brent Comer Rediscover the Gold in His Craft

There’s something truly magical about the bond that forms when the right project finds the right actor. It’s a rare connection that transcends performance, elevating the material and creating an emotional impact that lingers long after the curtain falls. Brent Comer achieves exactly that with his portrayal of Darrel Curtis in The Outsiders Musical. He doesn’t just play Darrel—he inhabits him, embodying the character’s quiet strength, raw vulnerability, and layered complexity. Brent’s performance is a masterclass in nuance, proving that the most powerful moments often come from the stillness between the lines. It’s one of the best performances on stage today—a portrayal that stays with you long after you leave the theater.

Adapted from S.E. Hinton’s seminal coming-of-age novel and Francis Ford Coppola’s iconic 1983 film, The Outsiders has been reimagined as a thrilling Broadway musical. Set in Tulsa, Oklahoma, in 1967, the story follows Ponyboy Curtis, his best friend Johnny Cade, and their Greaser family of ‘outsiders’ as they face off against their wealthy rivals, the Socs. The musical delves into timeless themes of identity, self-discovery, and survival as the Greasers dream of a better life in a world that may never accept them.

At the heart of this poignant tale is Darrel Curtis, the oldest of three brothers, played with extraordinary depth by Brent Comer. After the loss of their parents, Darrel is thrust into the dual role of sibling and guardian, a responsibility that forces him to grow up too quickly. Brent masterfully balances Darrel’s strength and tenderness, capturing the emotional weight of holding his family together while navigating his own struggles. Whether in moments of quiet reflection or bursts of raw emotion, Brent brings authenticity to every scene, making Darrel’s journey profoundly resonant for audiences.

We had the opportunity to speak with Brent about his journey with the production, how the audition helped him rediscover the gold in his craft, the connection his portrayal has forged with audiences, and what fans can look forward to in his highly anticipated upcoming performances at 54 Below.

PC: When the audition for The Outsiders at La Jolla came up, you were at a crossroads in your career. Excuse the pun, but you were ready to throw in the towel. Life works in mysterious ways, though. How much convincing did it take for you and your team to give that audition one more shot?
Brent: There had been auditions before The Outsiders that took some pushing for me to go through with. But as soon as I got the Outsiders audition, I was instantly inspired to do something with it. I had been feeling really uninspired to do anything, but this felt like the ultimate invitation to start creating again because I loved the story so much. Honestly, I jumped on it. I was sort of one foot out the door, but as soon as I read The Outsiders, I jumped right back in. I thought, “Oh, no, I’ve got an idea in my head about how this should exist as a musical.”

PC: At that point in your career, you were making it to the final rounds of a lot of auditions, but for whatever reason, things weren’t going your way. During your first audition for The Outsiders, there was a slight hiccup, and you were convinced you weren’t going to get a callback—but you did. Was there a different sense of freedom going back into that room, knowing you had nothing to lose? And how much did you lean on your sports background, knowing it’s not about how you start but how you finish?
Brent: That’s a really interesting question. Wow. To be honest, I never really gave up hope. I knew I had screwed up, but I also trusted that there was a part of me that resonated with the story—something that went beyond my technical prowess in a dance call.

The audition space that Danya [Taymor], our director, had created was incredibly personal. I recognized that even before I messed up. She made it very clear that this process was about who you are as an artist—not about the fireworks or the ornamentation of your artistry. It was about how you resonate with the story and how you, as an artist, bring yourself to it. That message was very clear from my first audition.

So, I never really gave up hope because I felt deeply connected to the story. It wasn’t just that I loved it—it resonated with parts of me that I trusted would be seen and valued. I didn’t approach it as a final push. I’m already a very driven person, and sometimes I have to work on pulling back and letting my work speak for itself. My instinct is to go into an audition and try really hard, but that can mean tensing up and overthinking. For that final audition, I just went in and let it be what it was.

PC: There’s something about the way this character sits within you, and that really comes across on stage. This is also a character who has lived in so many different mediums, but you’ll always be the actor who originated him on Broadway. Because you’re such a student of your craft, as you mentioned, how did the other interpretations and iterations of Darrel influence your own? And how have you been able to put your own creative stamp on him?
Brent: I really tried to stick to the book as much as possible, even though I love Patrick Swayze’s portrayal. The biggest gift I had as an actor working on this musical was Adam Rapp’s writing. When Adam writes, he’s thinking like an actor, and that made all the difference.

My interpretation of the character builds on Adam Rapp’s interpretation of Darrel. We both saw similar things when we approached the novel—a character with so many layers and details to explore. There was so much story there. I don’t think Susie [S. E. Hinton] glossed over anything, but she left a lot to the imagination. As a writer, Susie has such a clear idea of who her characters are, yet she doesn’t spell everything out or gush over them. She gives you just enough to fill in the blanks yourself.

What Adam was doing—and what I was trying to do—was fill in those blanks that Susie left open for interpretation. For example, the scene between Dally and Darrel isn’t in the book or the movie, but it’s such a powerful moment that shows their dynamic in a new light. Susie’s brilliance as a storyteller is that she provides the framework, and Adam and I built on that to explore parts of Darrel’s story that weren’t explicitly written while still honoring what Susie created.

PC: That’s a great answer. One of the beauties of art is that it’s open to interpretation. What I love about your interpretation of Darrel is the subtlety and nuance you brought to him, which feels counterintuitive to this medium, where artists are often told to be louder to reach the back of the room. But it’s so fitting for this character and his exploration of masculinity, coping through stillness. It makes the build-up to “Throwing in the Towel” that much more impactful. How early in the process did you make the creative decision to challenge audiences to be active listeners and observers of all the nuances you brought to this character? And how do you create that emotional space for that number in particular?
Brent: What’s interesting about that number is that it starts with Danya’s direction. She really encourages truth—that’s just how she works. She would never direct something like 42nd Street. It’s not that 42nd Street is any less artistic, but the things Danya is interested in skip the pageantry. She doesn’t want jazz hands or anything overly performative. It’s not that she doesn’t appreciate that style, it’s just not what she does. It’s not what she’s interested in exploring, especially with this story. Other directors might have added a huge tap number or something more traditionally theatrical, but Danya has a very specific taste. Her approach is about what happens when you bring less to the table and let it come to you.

I understood that from the moment I started working with her. If something wasn’t feeling organic or wasn’t coming from a truthful place inside of you, she wasn’t interested in it. As actors, we try to anticipate our director’s tastes and understand the world they’re building. You want your work to fit within that vision, and Danya’s vision was clear from the start.

That scene is preceded by the one with Dally. Darrel, in my opinion, is a very volatile character—he’s either incredibly still or explosively kinetic. The stillness is the potential energy that builds and then launches into the kinetic energy. Without that stillness, the movement means nothing. It goes back to “Runs in the Family (Reprise)”—the scene where I slap Ponyboy. I’ve noticed that without the stillness of the scene before it, that moment doesn’t land. Similarly, “Throwing in the Towel” doesn’t work without the conflict and kinetic energy that builds right before it, which Adam explores so beautifully in the writing.

What’s unique about “Throwing in the Towel” is that it flips the usual dynamic for Darrel. Typically, his scenes move from stillness to action, but in this case, it’s the reverse. He starts with a lot of action—he’s very aggressive on stage—and then it launches into stillness. I think that’s what makes the scene so special because it catches you off guard. It pulls the rug out from under you. But you have to earn that stillness by fully committing to the energy in the scene before.

It’s the same the other way around. For example, in “Grease Got a Hold,” Darrel is very still and stoic. If you don’t commit to that stillness, then you don’t earn the energy that comes later. Darrel is like a pendulum—he swings between stillness and action, and it’s the interplay of those extremes that defines him.

PC: I’ve cried both times I’ve seen that on stage, and that’s a huge testament to you and the nuances you bring to the role. While so many elements of the show are essentially frozen, what makes theatre so exciting is that each performance is unique to that audience. How has the trust you’ve built as a company allowed you to continue to play, explore, and push each other as artists?
Brent: What makes it so special is that theatre is inherently intimate. You’re all sharing a space—even though there’s a formality to the roles of audience, performers, crew, and ushers, you’re all still in the same room. That’s the magic of theatre. It’s the great equalizer of entertainment. That’s why people buy a ticket—because they’re in the room while it’s happening. They may be watching through a kind of veil, but the window is so much thinner than when you’re watching a movie. Even though a movie might let you see close-ups of the actors’ faces, you’re not there with them in the moment.

What’s special about working with company members is that you’re sharing these intimate experiences with each other every night. Trust is inherently built because, even if you’re playing pretend, you’re still looking someone in the eyes night after night. You can see if you’re doing it right—you can see who they are. And if they’re doing it right, they’ll show you who they are.

This cast, in my opinion, does it right. I feel a personal connection with everyone I share a scene with because we share so many moments of eye contact. There’s something about that—you build trust when you’re vulnerable with someone else in front of a thousand people. It creates this sense that we’re in this together. It’s a scary thing because it’s intimate and vulnerable.

There’s also a trust between the audience and the actors, but the trust between two actors who are fully committing to each other and to what they’re doing is profound. It’s something you can feel every night, and it’s what makes this experience so meaningful.

PC: Goes back to your sports background, where you’re on the field together—it’s very much a team environment. That actually might be the answer to this next question. But “Stay Gold” is one of those songs that reminds us never to lose sight of childhood wonder and the things that excite us. For you as an actor, how do you continue to reconnect with that spark and bring it to your work?
Brent: It ties back to what we were discussing earlier, when I was feeling so uninspired before the audition came through. It’s about holding onto the things that get you up in the morning, that excite you, and finding ways to plug those things into your work. The audition helped me rediscover the gold in what I do, especially at a time when I felt so uninterested in storytelling and art.

I think all artists go through moments like that—periods where the act of making art doesn’t feed you the way it used to. You wouldn’t be an artist if you were completely sustained by the act of creating alone. As an artist, you need to take things in. You need to put the work down, experience the world, and refuel so you can return to it with fresh energy.

One of the big themes in The Outsiders is about taking in everything around you. To me, “Stay Gold” is about being present—experiencing the moment and all it has to offer—while also holding onto the things from the past that can fuel your future. It’s about hanging onto the things that make you glow.

For me, The Outsiders was one of those things. It spoke to me in a way that reignited something inside. I found a way to stay gold by embracing the journey. It’s funny how a story about staying gold ended up helping me find the gold in my own life and my passion for artistic exploration.

PC: That’s beautifully put. In another interview, you said something really profound about being an artist and the different forms art can take. There’s something beautifully tragic about Darrel’s journey throughout the production—how it’s about finding peace, fulfillment, and being okay with his circumstances. How does that allow you to connect with his emotional core, and what’s it been like going to the stage door and seeing how much his story is resonating with audiences?
Brent: So many of these characters are the everyman. The reason this story has endured for so long is because it speaks to existential struggles that everyone wrestles with. Darrel is no different. I don’t know how to say this without sounding pessimistic, but everyone is tortured by “what could have been” to some degree. Even the most fulfilled and happiest people have those “what ifs.” What if I had done this? What could have happened? We’re all haunted by that—some more than others.

I’ve had so many people share their experiences with me, and a lot of them are young people who had to raise their families, which is something I’ve never had to do. It’s easy for me to say this because I haven’t lived it, but what a beautiful and profound thing it must be to have to do that—to raise a family so young—and to still find joy and beauty in it. For me, that’s unfathomable. There’s no way I could have raised two kids at twenty.

What’s humbling is that many fans tell me this story isn’t just fiction to them—it’s their reality. This character means so much to them because it reflects their experiences. It’s incredible to hear them talk to me as if I’ve lived it myself. I play someone who has, but they’re the ones who truly know what that life is like.

There’s a lot of virtue in being able to accept things as they are—not just to accept them, but to find beauty in the things that hurt. It’s like the lyric: “Finding beauty in the fold. It’s the only way to keep from growing old.” That’s what Darrel learns to do. Maybe he always knew how, but the pain of everything muddles that ability.

PC: This character lives so deeply within you, and your performance is so visceral. When I watched it, I thought, “Brent is giving such older sibling vibes—he must have gone through these experiences.” But then I found out you’re the youngest sibling, which is such a credit to how much this character means to you and the work you’ve put into bringing him to life.
Brent: I love the character. He and I, as people, would not get along. [laughs] But I do love him.

PC: You were talking about the ride earlier. This is your Broadway debut—congratulations, by the way! This production has had such an incredible journey, from countless awards, including the Tonys, to now being Grammy-nominated. What’s been the most surprising part of this experience so far? And what’s been your biggest takeaway?
Brent: We knew what we had was special. I don’t mean for that to sound cocky in any way—it’s just that we knew the story was special because of the novel. But honestly, I’m surprised every day because all of this is new to me. I don’t always know what to expect. I don’t know if I can answer that question directly, but what I can say is that the most fascinating part of this experience has been watching it grow—from its infancy, in its “incubator period,” to what it’s become now.

I remember when we first stepped into the space with the “dirt.” We were in Brooklyn at a special effects studio, and I was brand new. I’d been cast the week before and was invited to join as they played and workshopped in the dirt and the rain. It was like watching a baby take its first steps. You could see it had legs and could eventually sprint, but it needed to stand up first. Seeing it at that stage, and then watching it evolve over the next two years—through La Jolla, where we put the script and music together—was incredible.

What stands out is that the hardest part wasn’t the big moments, like the songs or the set pieces. It was the little things, like figuring out transitions. How do we get the table onto the stage while everything else is happening? It’s such a metaphor for any big endeavor—the little things are what make it all work. The most surprising part is that we spent so many nights, sometimes until midnight, trying to solve those small problems. And now it’s a Tony winner and Grammy nominee.

What’s been inspiring and my biggest takeaway from this artistic process is seeing how something can grow when you’re surrounded by people who love what they’re doing and believe in the material. It creates this incredible energy, like a cauldron that keeps bubbling and producing. We were like termites—always working, always thinking about the show. For two years, The Outsiders was all I thought about. How does this character work? How does he connect to me? And before we knew it—and I know it doesn’t always work this way—it was a Tony-winning, Grammy-nominated production. It all happened so fast.

PC: That’s beautifully said. It’s also really hard to reflect on the journey of a production while you’re still in it. You also recently announced a performance at 54 Below in February, and tickets sold out almost immediately. First, are you adding another show? Second, what does a Brent show at 54 Below look like?
Brent: I am going to add another show because most of my friends didn’t get a chance to get tickets. The Outsiders community showed up in such a big way—they mobilized so fast. It was really special to see that happen. I didn’t anticipate it at all. I thought I’d have to spend months marketing the hell out of it, but it sold out in three hours. I was like, “Oh my God.”

As an artist, it’s really reassuring to feel that kind of support. But now, the pressure’s on—we actually have to do a show. [laughs] I’ve never done a concert before. I’ve never really considered myself a singer; I’ve always seen myself as an actor who sings to tell a story. So, I’m definitely nervous. I’m exploring new ground.

What I’m really interested in is making the concert feel intimate. As an artist, I’m drawn to the idea of stripping things away rather than adding more. It’s going to be a personal show, but I also want to make it as relatable as possible. I want it to feel like an experience where people can feel seen and reassured.

It’s hard for me to allow myself to be truly seen, but my hope is that whatever I manage to put together will create a space where others feel like they can be seen, too.

To keep up with Brent, follow him on Instagram. Don’t miss The Outsiders on Broadway or Brent’s upcoming shows at 54 Below.

Production Photo Credit: Matthew Murphy