‘Outsiders’ knocks out ‘Hell’s Kitchen’ at an otherwise dull Tony Awards

They weren’t outsiders on Sunday night.

In a neck-and-neck race, the fantastic new musical “The Outsiders” ultimately took home the coveted Best Musical trophy at the Tony Awards, honoring the best of Broadway, at Lincoln Center.

Most pundits (not me!) predicted Alicia Keys’ semi-autobiographical piece “Hell’s Kitchen,” which is also a fun night out, would emerge victorious. 

Nope. Despite Keys’ aggressive campaigning, the innovation and pounding heart of “The Outsiders,” based on S.E. Hinton’s classic novel about warring gangs in Oklahoma, won over Tony voters during a crowded season of 15 new musicals. Too many, really.

The race for Best Musical went right down to the final seconds of the ceremony.

Early in the evening, nothing emerged as a juggernaut. “The Outsiders” inched ahead with awards for lighting and sound, and “Suffs”’ composer and star Shaina Taub took Best Book.

Then, in the biggest shocker of the night, “Outsiders” director Danya Taymor clobbered the assumed winner Maria Friedman, of “Merrily We Roll Along,” in the Best Director category. The Greasers and Socs were waltzing to the finish line.

Then — boom —“Suffs” grabbed Best Score, leading to a nail-biter. But “Outsiders” nevertheless came out on top, with four Tonys.

A lot of the other winners went down as expected. “Stereophonic” won Best Play, and the hit production of “Merrily We Roll Along” was named Best Revival of a Musical. “Appropriate” got Best Revival of a Play.

Duh.

Jonathan Groff teared up as he accepted Best Actor in a Musical for “Merrily,” and his co-star Daniel Radcliffe snatched Featured Actor.

“I’m just gonna talk fast and try not to cry,” the “Harry Potter” star said. We appreciate it, Dan.

Actress in a Musical went to fabulous newcomer Maleah Joi Moon for “Hell’s Kitchen,” and Actress in a Play went to Sarah Paulson for “Appropriate.” Jeremy Strong from “Succession” finally won something this year — Actor in a Play.  

What about the performances?

They were a mixed bag.  

Nowadays, the musical numbers matter even more than trophies, because the Tonys are the only exposure these musicals get to some four million potential ticket-buyers around the country.

“The Outsiders,” starring Best Actor nominee Brody Grant, did their rainy rumble, which was visceral and thrilling.

And, for viewers that stuck with the Tonys for 2 hours, the revival of “Cabaret,” starring with Oscar-winner Eddie Redmayne and Gayle Rankin, had one of the best showings — a lively rendition of “Willkommen.”

“This number will move tickets,” said an industry observer of the production that got a walloping from theater critics.

A medley from the cast of “Hell’s Kitchen” started off slow, but picked up when Keys and rapper Jay-Z performed the local anthem “Empire State of Mind.” Before you plunk down all that cash, though, remember that the famous rapper and Keys aren’t actually in it.

The moving dance piece “Illinoise,” set to the music of Sufjan Stevens, did some pretty choreography. You either like that sort of thing or you don’t.

“The Who’s Tommy” tapped into viewers’ 1960s rock-n-roll nostalgia, and “Water For Elephants” defiantly said, “We have acrobats!”

Annoyingly, there was a huge push for the play “Stereophonic,” about a Fleetwood Mac-esque band in the 1970s, to be allowed to perform one of its original songs during the broadcast. After a dumb outcry, they got their way.

It was a huge mistake. The songs are sensational, but the performance was a snooze. They would’ve been better off just, ya know, winning.

Oscar winner Ariana DeBose hosted the broadcast for the third time. 

Her opening number — a weird “Sweet Charity”-like clunker with jumbled lyrics that evoked neither Broadway nor pop — was one of the Tonys’ worst in years. Otherwise, she blandly moved things along. She’s said it’s her last. Bon voyage!

Overall, the night was pretty dull.

The Tonys, even with their dwindling viewership, are of huge importance to Broadway. CBS, the American Theatre Wing and the show’s producers need to get them right.

This year, they did not.