The Outsiders Reimagined: Runako Campbell on a Black Woman’s Perspective and Fresh Possibilities (Exclusive)

With crises seeming to multiply at every turn, the mandate to “stay gold” remains a beacon, though it is not always easy to keep. The phrase, etched into the memory from S.E. Hinton’s classic novel The Outsiders and now performed nightly on Broadway in its Tony Award–winning musical adaptation, serves as a reminder to guard one’s innocence, vulnerability, and hope when the odds are stacked against you. But what does it truly involve to protect your inner light when the world around you is defined by grit and struggle?

Finding a Place in the Brotherhood

For decades, The Outsiders has enthralled audiences in large part because it dives into themes of friendship, chosen family, and the tensions between those with privilege and those without—embodied by the working-class Greasers and the wealthy Socs. The story has long stood as a staple in how generations of readers are introduced to adolescence.

“I think I remember reading it, I believe I was in sixth grade,” Campbell recalls. “So maybe sixth or seventh grade is when many people first engage with it. And then the musical adds another layer—singing, dancing, tricks, and fight scenes—so it’s easy to see why it becomes such a compelling thing to be a fan of, you know?”

Because of this deep-seated nostalgia, the show has cultivated a devoted, multi-generational following that the cast nurtures through weekly social media updates. “It’s been really special! I feel that what makes The Outsiders so resonant is that we attract a vibrant audience of younger people,” Campbell notes. “There are fans of all ages, but there’s a substantial teenage and early-twenty-something crowd. It’s been wonderful to connect with them more directly. I’m not always in the foreground, but even as part of the ensemble, everyone has a name—Ace, Steve, etc.—so they still get a sense of our personalities. It’s been fantastic to cultivate that bond with fans.”

In the role of “Ace,” Campbell occupies a distinctive position within the narrative. The original 1967 novel concentrates heavily on male dynamics, prompting a Black woman performer to deliberately craft her own historical and emotional frame within 1960s Tulsa, Oklahoma. Rather than treating the ensemble part as a limitation, Campbell views it as a rich landscape for exploration.

“Being not just a Black girl on stage, but a poor Black girl in Tulsa in 1967—those layers are already so intricate. I have to acknowledge that people will see me differently, not merely because of my clothes or because my shoes are worn, but because I am Black.”

To honor that reality, Campbell infuses every gesture with nuance, offering a vital intersectional lens on the play’s exploration of class conflict. “I always try to imagine what that era must have felt like, and I try to channel all of those emotions—from the way I walk and carry myself to how I seek protection from my friends. Yet I also carry a certain defiance in the way I’m spoken to, especially by the boys. It’s a balance. I yearn for a community because I don’t have much, but I know I won’t fully fit in with them, since I’m a girl who will one day be a woman.”

Through this delicate blend of defiance and vulnerability, Campbell underscores the broader thematic messages the show offers contemporary audiences about enduring hardship and maturing emotionally.

“It’s about the tension between one’s chosen family and the social circle, or staying true to oneself and one’s beliefs. Sometimes you’re in a crowd and feel their influence, whether you want to or not,” she explains. “I also think it isn’t simply good versus evil or right versus wrong. The layers are complex, and the show acknowledges that. But one of my favorite aspects is its focus on possibility. Some people may not feel they deserve chances, or may doubt they can dream bigger given their circumstances. I love that this show invites you not to surrender to those obstacles and to seek another angle on your situation.”

Defending the Self Against the Machine

Delving into these heavy emotional spaces multiple times a week inevitably takes its toll, especially when it is paired with the strenuous physical demands of the choreography. For Campbell, protecting her own physical and mental health requires a clear boundary between who she is and what she creates as a performer.

“There are days when it truly feels like I live at the theater, which, if you know, or perhaps if you don’t, can be dark, cold, and lacking in vitamin D. I make it a point to step outside for at least 20 minutes daily. I move my body outside the show because training is essential to prevent injuries. I also practice yoga and Pilates—mostly because I enjoy how they feel—that helps keep my mind lucid.”

Now in her third Broadway production, Campbell stresses that learning to cultivate a life separate from the stage was a hard-earned lesson, essential for escaping the all-consuming nature of the industry.

The Daily Battle to Stay Gold

This grounding enables Campbell to confront the socio-political climate beyond the theater’s doors. With a Princeton University degree in African American Studies, her artistic path remains deeply entwined with advocacy and political awareness. Yet she candidly notes that keeping up optimism in today’s world requires active resistance to fatigue.

“Yeah. I’ll admit it’s not always easy to stay ‘gold,’ right?” Campbell confesses. Rather than letting despair win, she channels her political knowledge into concrete, local action, treating “staying gold” as a deliberate, everyday choice rather than a passive mindset.

“It’s a daily practice of ‘how can I still engage? What can I do in my community today? Where can I be volunteering? Where can I spend my money?’ Every day it’s a little bit of a battle, but I know that the state of the world is calling on all of us—every single person. I think it’s very useful, the phrase ‘stay gold,’ because it’s easy to become hardened, and I don’t want that for myself.”

Redefining the Broadway Experience

It is this refusal to become hardened that radiates through the show, turning The Outsiders from a typical musical into a transformative encounter for theatergoers. When asked what she hopes audiences take away for their inner circles after seeing the production, Campbell expresses a wish to shift perceptions of what musical theater can accomplish.

“I would hope they say the show took them on a journey,” Campbell reflects. “I’d love for them to leave feeling inspired and hopeful. They might even be a little emotional—yes, it can be tearful. And I hope they’re amazed by the effort visible on stage—by the singing, the dancing, the acting. My goal is for them to leave with a fresh perspective on theater—especially musical theater.”

The production pushes against conventional Broadway templates, anchoring its songs in the needs of the characters rather than in spectacle.

“Our show isn’t as flashy and glamorous in the traditional Broadway sense,” Campbell observes. “It’s gritty, it’s honest and real. When a character bursts into song, it’s not to dazzle the audience, but to reveal the relationships among the people on stage. I hope people walk away thinking, ‘I’ve never seen a musical like that before, and it makes me want to explore more musicals.’”