How a story of loneliness, survival and unlikely friendship found new life as a musical after six decades.

James Leo Herlihy wrote the classic novel Midnight Cowboy in 1965, telling the story of Joe Buck, a naïve Texan who moves to New York City hoping to become a successful hustler, only to form an unexpected friendship with the sickly con man Ratso Rizzo.

Famed for its gritty and poignant narrative, the book was ahead of its time, exploring themes of loneliness, survival, and disillusionment in urban America. In 1969, the novel was adapted into a film directed by John Schlesinger and starring Jon Voight and Dustin Hoffman, receiving critical acclaim for its raw realism and emotional depth. The movie broke many barriers, blending its explicit nature with mainstream storytelling and challenging Hollywood norms. Its adult themes pushed boundaries, earning it an X rating, later re-rated to R as societal attuited shifted in the early 70s.  It surprised everyone when it went on win three Academy Awards, including Best Picture.

So why did it take six decades for the story of Joe Buck make its way to the stage?

Director and choreographer Nick Winston explains “The delay primarily stems from the rights holders' desire to find individuals they trust to honour Herlihy’s work. It’s a delicate process that requires the right creative vision to bring this powerful story to life.”

In 2020, Nick met with Glyn Baker, the right holder. “Glyn held the rights and had already crafted an adaptation. He had also enlisted several musicians to contribute songs, including a standout piece titled "Don’t Give Up on Me Now" by Eg White. I felt that Eg should compose the entire score to create a cohesive musical voice. I then brought Bryony Lavery on board for a new adaptation.”

So the show was five years in the making? “Yes, I conducted four workshops over five years: one on Glyn’s original draft and three focused on Bryony’s adaptation.” Quite an extensive process then? “It was and it allowed us to refine the script and music significantly. Charlie Ingles, our musical supervisor, and I explored a cinematic approach to music and underscoring, drawing inspiration from John Barry’s film score. Early discussions with the design team were also crucial. Andrew Exeter, our set and lighting designer, brought my vision to life, while Jack Baxter, our video designer, enhanced it further. Sophia Pardon, our costume designer, created authentic, lived-in looks for the characters, and Yvonne Gilbert, our sound designer, crafted immersive soundscapes. By the time rehearsals began, we had developed a rich auditory landscape that added depth to the production.”

This must have helped you to guide the actors to connect with and build these deeply flawed but deeply human characters. How do you approach that? “I focused on creating a safe environment for in-depth discussions about the play's themes. Through numerous conversations, we delved into the characters' complexities, often referencing the original book, especially the first half, which is only portrayed in flashbacks in the play. This led to a highly collaborative rehearsal process, where we explored each scene together.”

Some were surprised by the decision to turn Midnight Cowboy into a musical despite Harry Nilsson’s grammy award winning "Everybody's Talkin'" becoming one of the most iconic uses of music in cinema history. How do you describe the relationship between the music and the show?” The characters often suppress their emotions, yet they endure profound trauma. Music serves as a powerful medium to convey these inner struggles. A prime example is "Don’t Give Up On Me Now," which deeply connects the audience to the characters' true feelings, making it a pivotal moment that underscores the theatrical experience. Additionally the cinema scene is particularly heart-wrenching for me. In a moment of desperation, Joe resorts to prostitution with men, and witnessing his emotional detachment from the act is profoundly sad. The subsequent moment, where the student reveals he cannot pay him, elicits an audible gasp from the audience. That powerful moment is elevated by music, capturing the essence of why we chose to adapt this story as a musical.

The world has changed as lot since 1965, how do you think it resonate with today’s audiences? “Themes of isolation, loneliness, and societal marginalization are as relevant now as ever. The longing for connection and genuine friendship speaks to universal human experiences. Many people grapple with existential questions about their purpose and existence, and this play captures those raw emotions in a way that will always resonate with audiences.”

For a story to endure, particularly one that seems as controversial today as it was in the late sixties, what do you think is its lasting message? “I believe the story reflects the harsh realities of life rather than conveying a neat message. The characters are shaped by their circumstances, and their fates seem predetermined from the start. Any choices they make ultimately lead back to the same conclusions, mirroring the experiences of many individuals. We aim to portray this truth without sugarcoating it.’