Interview with Tori Allen-Martin, MIDNIGHT COWBOY - A NEW MUSICAL

You play the role of Cass in the world premiere of Midnight Cowboy, can you begin by telling us a little bit about the show..

Midnight Cowboy started as a book by James Leo Herlihy and then became a movie in 1969 starring Jon Voight and Dustin Hoffman. The film went on to win multiple awards including several Oscars. It was really ahead of its time because it dealt with things that weren’t spoken about, like sex work and hustling - it was pretty risque I think. There were a lot of people who considered it a gay movie, but it's actually more complex than that. There’s sex with opposite genders and the same gender.

It still feels so relevant today because it’s ultimately about two lost souls finding each other and finding a home in each other, and the story of their unlikely friendship. A couple of hustlers who are looking for more, but find each other through their struggles and learn more about themselves. It’s a heartbreaking story, but to do it as a musical is so interesting because I think this medium really lends itself to the storyline. When I watched the film I couldn’t believe that no one had done it yet, because it feels very theatrical in places. It’s quite heightened. The music by Francis ‘Eg’ White is unbelievable and actually quite uplifting which complements the darkness of the story. You wouldn't think it would work, but it's outstanding, it's really special. So I'm excited about it.

It is a new piece of work so what is it like for you to come into the process of developing that? Especially when it is based on a book?

I love new writing. In a lot of my career, I’ve tried to play original on-stage roles where possible because I am able to develop the characters further in rehearsals. It means you walk into a room where there are pretty much no rules and it’s about being brave, trying new things and making choices. The process also feels very empowering because I think we all feel a little bit like we’ve got to fit certain boxes.

I’m a woman of colour and I’m not skinny, there’s been a lot of boxes in my life where I feel like I don’t fit. I also hope that through the show we can make the audience feel seen, we’ve got a really diverse cast where everybody’s got something different to bring. It’s been so exciting to see the interpretations of these characters. Our director and choreographer Nick Winston has given us license to explore the characters.

The show has been cast so beautifully and there’s such speciality in rehearsals with some real ones to watch, like Paul Jacob French who I think is going to blow up. To see his interpretation of this is beautiful! There are specific moments we have in this musical that I hope are going to surprise audiences and make people feel seen and excited.

Can you tell us a little bit about your character Cass and how you have been bringing her to life in the rehearsal process so far? Do you think this will change once the show starts running on stage?

Cass was played by Sylvia Miles in the film and was on screen for seven minutes and got an Oscar nomination which sort of speaks to how iconic the role is and how amazing she was. It’s big shoes to fill but our version is really different. Cass is a bit of a hustler, it’s not clear if she’s a sex worker but she definitely has relationships with men who have money, where she is in control.

She’s a bit of a manipulator and a survivor and she knows how to get what she wants.

Part of the reason I took the job is because I wanted the challenge of portraying a sex worker and displaying intimacy on stage. I’m very interested in portraying a woman who embodies her essence in a patriarchal society. I am excited to explore that with Cass and showcase a woman who’s front-footed and knows what she wants. The logistics of thrusting and singing for five minutes means that I’m in the gym everyday because I need to get my core straight. So what I hope will develop over the process is I’m going to get some abs!

Paul is such a dream to work with. Thank God, because on day four in rehearsals, there was a bed in the room and an intimacy coordinator, with all the windows blacked out, but it was all very relaxed. I think we’re both looking forward to the time when it just feels just part of the show and we can really get into it.

How would you describe Cass’s relationship with Joe Buck, and what do you think she represents in his journey?

It is such a small moment between the pair. There’s a couple of scenes and a song then you don’t see her again. In act two I play another woman called Orange. I think this musical is more about what he discovers about himself with Cass. We play the relationship a bit differently from the book in that Joe really enjoys himself and this is potentially the first time he’s engaged in intercourse with a woman. Cass wants him for his physicality and he’s more comfortable with that. Orange wants to know more about him and she probes. Paul’s character Joe finds that more difficult and so that’s a bit of a catalyst for him losing a little bit of confidence.

I guess ultimately these women serve to speak to the different sorts of people he encounters and play beautiful little vignettes within his journey.

The musical features an original score—how does the music help tell Cass’s story?

I’m not just saying this because I’m working on it but it’s just banger after banger, bop after bop. I remember when I was a teenager and I heard RENT and Wicked for the first time. It was RENT that made me want to pursue a career in theatre. I have a similar feeling about this show, it’s just that sort of visceral reaction to it.

I couldn’t even compare it to any other show. It’s completely its own thing. Francis ‘Eg’ White, Ellie Verkerk and Charlie Ingles are a team at the top of their game and they’re just layering and adding something fresh every time. I grew up with that TLC, and Tony Braxton, all these women who sang bass, and I was like, this is sexy, can we do this? And we've done exactly that. So the show starts, right in the Altos which is going to sound great as we are right in the basement. The music is constantly changing and developing all the time, which is so exciting.

There has been a lot of discussions surrounding the explosion of more productions being adaptations of films and/or books in recent years. What do you think about their contributions to the future of the theatre industry and where do you think Midnight Cowboy sits in the discussion?

I love new writing and I’ve always championed it. I'm a writer myself and so I am acutely aware of how difficult it is now to get original ideas away and new stories told.

However, there is some existing content that works & makes sense in a musical format. And if these successful adaptations keep the future of new musicals, and new writing going then I support it. I think there needs to be a bit more 50/50 with original and new work as I think we’re tipping the balance a little bit too much in favor of existing material.

I feel that’s where Midnight Cowboy is different to the shows at the moment like Mean Girls and Clueless which are going for the nostalgia angle. There’s a balance in our work between people who have and haven’t seen it. We’re basing this production more off the book and it’s lesser known. We’ve been able to delve into some things that you wouldn’t see in the movie, so it feels like a different interpretation. It has stayed really relevant because of the way we live societally.

Finally, why should people come and see Midnight Cowboy?
Come and see Midnight Cowboy so you can see absolute stars of the future who are going to blow up any minute. Come and hear some of the biggest bangers you’ll ever hear in your life, and come for a beautiful, heartbreaking story that will definitely make you feel something but also give you a laugh at the same time. It’s not too self-indulgent. It doesn’t take itself too seriously despite the dark subject matter. So just come for a brilliant night that makes you feel glad to be alive.

Cath Tori Allen-Martin in Midnight Cowboy at the Southwark Playhouse Elephant from 4 April - 17 May 2025.