The world premiere of Midnight Cowboy: A New Musical at Southwark Playhouse Elephant is the reimagining of James Leo Herlihy’s novel and the Oscar-winning 1969 film which was based on the book. Fans of that classic movie, which starred Dustin Hoffman and Jon Voight, may find themselves disappointed with the stage adaptation.
Directed and choreographed by Nick Winston, this production manages to capture the gritty despair and fragile hope that defines the story, but the addition of music, which could have made an already emotional narrative, even more of a tear-jerker, instead distracts from the character driven story.
Midnight Cowboy explores the unlikely friendship between Joe Buck, a naïve Texan dreamer, and Rico “Ratso” Rizzo, a cynical, ailing hustler. Paul Jacob French delivers a compelling performance as Joe, embodying his wide-eyed optimism and gradual disillusionment with authenticity.
Opposite him, in a sensational performance, Max Bowden’s Ratso is a masterclass in vulnerability masked by bravado. Bowden’s portrayal of Ratso’s physical frailty and emotional depth is both heart-wrenching and magnetic, and the progression towards the story’s end is captivating.
Also giving a stand-out performance is Tori Allen-Martin who plays two characters, both of which seduce Joe Buck. Allen-Martin makes both these roles feel distinct and adds a feminine perspective to the story of two lonely hustlers.
The problem though, is in the score by Francis “Eg” White, which doesn’t successfully add any depth to the story. Instead it takes away from the development of the friendship between Joe and Ratso and distracts the audience with uneven ballads.
The cast do their best with the music, but too often it comes over more like soulful wailing than actual songs. Songs in the second act are marginally better, even if a couple of the numbers feel out of place.
It’s a shame, because Bryony Lavery’s book breathes new life into Herlihy’s narrative, balancing the grim realities of survival with moments of humour and tenderness.
This Midnight Cowboy doesn’t shy away from the darker elements of Joe and Ratso’s journey—poverty, exploitation, and shattered dreams—but it also finds room for hope in their bond. With a strong book, perhaps this would have been better imagined as a play, allowing more time for character development.
While the musical largely succeeds in translating this classic story to the stage, there are moments where its ambition outpaces its execution. Some transitions between scenes feel long and clunky, and some of the secondary characters are too underdeveloped.
The production design by Andrew Exeter looks good. The set evokes the darker side of New York City with a large smoky mirror that also serves as a backdrop for understated projections. Sophia Pardon’s costume design effectively mirrors the characters’ progression, from Joe’s increasingly tattered cowboy attire to Ratso’s threadbare wardrobe.
Midnight Cowboy is a raw and ambitious production which certainly captures the emotion of the original novel, but in trying to seek out a new identity it’s lost some of the heart that made the film version so successful.
Listings and ticket information can be found here.
