Midnight Cowboy: A Bold but Flawed Reinvention
“November sure is a cold month for those of us who hover in doorways ”
Rico ‘Ratso’ Rizzo
As Bob Dylan once sang, the times they are a-changin’—and nowhere is that more evident than in this new musical adaptation of Midnight Cowboy. What was once a scandalous tale of grit and desperation now feels almost quaint, its once-shocking themes of sex, violence, and male prostitution softened by the passage of time. Strip away the Texan drawl and the grimy New York backdrop, and you’re left with a story that wouldn’t feel out of place in a particularly bleak episode of EastEnders.
Yet beneath its dated provocations lies a profoundly moving story of friendship forged in hardship. Paul Jacob French is compelling as Joe Buck, the wide-eyed hustler who arrives in the Big Apple dreaming of wealth and glamour, only to be swiftly crushed by its brutality. Max Bowden delivers a standout performance as the ailing conman Ratso Rizzo, his rasping vulnerability a perfect foil to Buck’s fading bravado. Their unlikely bond—tender, tragic, and darkly funny—remains the beating heart of the production.
Originally a novel in 1965, then an Oscar-winning film in 1969, Midnight Cowboy now takes its bow as a musical—a choice that proves both inspired and misguided. The songs, penned by acclaimed songwriter Francis ‘EG’ White, are strong in isolation, blending bluesy melancholy with moments of soaring emotion. But they feel clumsily stitched into the narrative, halting the drama rather than deepening it. Worse still, the musical performances (save for Tori Allen-Martin’s striking vocals) are disappointingly flat, the live band muffled as if playing from another postcode.
Nick Winston’s direction has flashes of ingenuity but lacks the raw energy the material demands. The sex scenes, crucial to the story’s grit, are played with frustrating timidity, robbing them of their danger. Meanwhile, Buck’s fragmented backstory—told through jarring, half-formed flashbacks—feels more confusing than poignant.
There’s a great play buried here, and French and Bowden’s performances alone make it worth seeing. But the musical elements drag down the pacing, and the production’s reluctance to fully embrace the story’s edge leaves it feeling toothless. Midnight Cowboy should shock, sear, and devastate. Instead, it ambles along pleasantly—which, for a story about life on the brink, is the real tragedy.
Verdict: A valiant effort with stellar performances, but its boldest risks don’t pay off. Tighten the script, sharpen the chemistry, and lose the songs—then we might have something special.
Musical Numbers
Act One
Prologue (Everybody’s Talkin’)
New York Bus (Opening)
Like A Woman
Whatever It Is You’re Doing
In Babylon
Very Inch of This Earth Is a Church
People Who Hurt People
Trying To Reach the River
Don’t Give Up On Me Now
Act Two
I Would Never Do That
Foundations
Blue Is the Colour
Here Comes the High
Good Morning Joe
We’re Only Talking
Don’t Give Up On Me Now (Reprise)
Production Notes
Midnight Cowboy
Composer and Lyricist Francis White
Librettist Bryony Lavery
Directed by Nick Winstone
Cast
Starring:
Elena Breschi
Joanne Henry
Matthew White
Max Bowden
Tori Allen-Martin
Christian Maynard
Dean Makowski-Clayton
Paul Jacob French
Phoebe Roberts
Tim Rodgers
Rohan Tickell
Creatives
Director: Nick Winstone
Information
Running Time: Two hours 30 minutes with an interval
Booking until 17th May 2025
Theatre:
Southwark Playhouse Elephant
Dante Place
80 Newington Butts
London, SE11 4FL
Box Office enquiries:
boxoffice@southwarkplayhouse.co.uk
Tube/Rail : Elephant and Castle
Telephone: 020 7407 0234
Website: southwarkplayhouse.co.uk
Reviewed by Sonny Waheed
at the Southwark Playhouse Elephant on 10th April 2025