Review: Thelma & Louise (Young Vic)

Review by Daz Gale

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When it comes to new musicals based on classic movies, it’s fair to say these are not in short supply with an increasing amount making it to the stage in recent years to varying degrees of success. For every Back To The Future, there is a Trainspotting, with The Devil Wears Prada somewhere in between, not exactly wowing the critics but still selling out one of the West End's largest theatres more than two years later. A particular classic and a personal favourite is the latest to get the musical treatment with the world premiere of Thelma & Louise at the Young Vic. Expectations are understandably high for the stage adaptation of a story that has made a huge cultural impact, still being referenced more than 30 years later, but could this musical prove to be a sharp shooter or would the creative choices be the equivalent of driving off a cliff?

While the movie was originally released in 1991, the stage adaptation of Thelma & Louise has been in the works for some time, but is only now receiving its world premiere. It tells the story of the two titular best friends who, on a whim, go on a weekend getaway together. What starts as a harmless and spontaneous road trip soon takes an unexpected and dramatic turn, forcing the pair to go on the run as police try to track them down. Now usually I wouldn’t spoil how it ends, but Thelma & Louise happens to have one of the most famous endings in cinema history, with its final image iconic in every sense. How would they be able to pull that off in the theatre, and would they change it at all? Talk about a cliffhanger…

The original writer of the film, Callie Khouri, has returned to reimagine her iconic road story, penning the book for this musical adaptation. Her original writing remains breathtakingly glorious, with the best moments of the musical being the utterance of some of the more memorable and iconic lines from the movie. Having Khouri involved ensures the original essence of the story is retained, while certain aspects are updated. One element gives a new twist to the character of police officer Hal, touching upon race and the dangers he faces as a Black police officer, though this is disappointingly disregarded in what could have been a powerful addition to the story.

Part of what made Thelma & Louise such a resounding success in 1991, and what has made it a favourite for many in the decades since is how it subverted supposed expectations of women in a revolutionary way. Rather than live in the shadow of men and deal with the despicable way they are demeaned and treated, the two women rebel, more than holding their own and calling the shots in their search for their own definition of freedom. This attitude struck a chord with many, making Thelma and Louise symbols of feminism that has endured since. 35 years later and you may think the world is in a better place when it comes to gender equality, but sadly recent events have shown this is far from true. Thelma and Louise may be two ordinary women, but they represent all women, and their ability to tap into that connection is just as strong and powerful in 2026 as it was in 1991, as witnessed by the response from members of the audience in certain moments of the story. In that respect, Khouri has found a fantastic way to translate the story for the stage, maximising the live connection of theatre and impact it can have.

With any musical adaptation of a classic movie, there is always the argument that the songs need to either seamlessly fit into the story or move it forwards in some way. There are times when the songs seem shoehorned when a good movie musical should find the right balance between the book and music to create the sweet spot. Sadly, this is where Thelma & Louise falls short. The music by Neko Case is solid to an extent, but it is the lyrics that let it down. There is an overreliance on repetition with lines said multiple times back to back on numerous occasions in the songs, feeling as if the repeat was a placeholder for another lyric that never came. This comes across as almost unfinished, letting down what could otherwise have been much better songs.

For the most part, the songs struggle to be memorable, with a sense of randomness throughout. Whether it is Louise inexplicably singing about how much she loved her car for an entire song, or a particularly low point in the show when two police officers have what can only be described as a p*ssing contest for the quite frankly baffling ‘That’s Right’, ironically titled given this is a clear example of where the show went wrong. If I could make just one suggestion to the creative team, it would be to find any reference to that song and drive it off of a cliff - the musical would be instantly better without it. Don’t get me wrong, there are some strong moments to be found, however, such as Thelma’s Act Two opening number ‘A Little Too Free’ and a refreshingly understated solo number from Louise near the show’s climax. This makes the execution of the musical all the more frustrating, knowing full well the potential is there but hasn’t been realised.

The question of “Does this need to be a musical?” comes up time and time again, and it is true that Thelma & Louise is much better when the dialogue is being spoken, with the start of any song heightening the uneven nature of the show. I would argue that there is a good musical to be found in this show, but it needs a lot of work and ideally a new lyricist to match the genius of Khouri’s original material. At times, it felt like I was watching a workshop presentation of a new musical rather than the finished product with the sense it is in need of further development before its next outing. A wandering tone gave the impression this show didn’t know what it wanted to be or how best to tell the story, leaving me to wonder whether all of the creatives were aligned when making this show or if differing opinions and ideas were all thrown together. The result is one of the more disappointing and inconsistent musicals I have watched. I say disappointing because there are moments of brilliance to be found in the musical - when it is good, it is really good, but that makes the weaker moments all the more apparent. Some misjudged attempts at comedy felt at odds with the material, with a lack of heart making it much harder to connect.

And then there’s the car. What car, I hear you cry? Exactly. For a road trip movie, the only time you see a car is right at the beginning of the show, as the wreck from Thelma & Louise’s final moments is shown - another strange choice given not showing the pair crash in the film was very much deliberate. While the lack of screens in this production was refreshing, I do wish they could have found ways to have a car on stage for parts of the show, as the car itself is arguably a character in the story itself. What I will say, however, is how impressive the set design is for this production. A sprawling set is full of attention to detail with each seemingly inconsequential sign a reference to some point of the show, with one particularly inspired touch given to the way JD makes his exit. Natasha Chivers’ lighting is also used to great effect, especially when it comes to showcasing the pair as they drive, in lieu of the aforementioned car.

Trip Cullman’s direction has moments of creativity, but again suffers from the inconsistent nature of the story and confusing way aspects are executed. It all feels rather random, with one moment early on seeing Thelma and Louise using microphone stands once and never again. For what purpose exactly? I honestly couldn’t tell you. The way the book and the music don’t come together seamlessly creates a huge problem, but I would argue Cullman’s contribution that prevents Thelma & Louise from soaring to new heights is the wandering tone. The overwhelming sense of not knowing how to bring this story to the stage and throwing multiple things at the wall to see what sticks acts as a disservice to the source material and the clearly talented creatives who have all gathered to bring a new life to an iconic story. Choreography from Bobbi Jene Smith and Or Schraiber is certainly distinctive and, again, has moments of brilliance in it. There is something undoubtedly impressive about the cast coming together for movement that features a lot of boot-stomping, with the repeated use of those stomps creating a heartbeat and tension through the show in an inspired effect.

Stepping into the shoes of Geena Davis and Susan Sarandon is no small ask, but luckily there are two titans of theatre ready to rise to the challenge. Step forward Amy Lennox as Thelma, and Rachel Tucker as Louise. Both are outstanding in their roles, often proving to be better than the inconsistent material they have been given. Through their solo moments to the believable dynamic they have together, the pair are always electric on stage, finding new ways to bring their characters to life while retaining the key characteristics from the original. With opportunities to showcase their powerhouse vocals and ability to emote, both Lennox and Tucker have a sensational stage presence that again had me longing for the show to be as good as they were. There is a role reversal in the story with Thelma gradually getting stronger as the show progresses in a stark difference to how Louise dominates early on. Lennox uses this to her advantage, thrilling in the show’s second Act with her growing confidence in an absolutely captivating portrayal, while Tucker gets to showcase a beautiful vulnerability in a refreshingly restrained moment later on.

Though his stage time is comparatively limited, Jordan Luke Gage delights as JD, playing up to how charming and manipulative the character is, and showcasing a great chemistry with Lennox’s Thelma, though at one particularly wet moment, I half expected him to get his own Flashdance moment. Samuel Edwards is a comic highlight as Darryl, with Trevor Dion Nicholas attempting to bring an unseen depth to his character of Hal. Ultimately, however, the title of the show gives it away that this is solely about Thelma & Louise, with all other characters suffering from the risk of being rather one-dimensional and throwaway. In a story that puts the power of women front and centre, however, I can’t argue with that choice.

Expectations can be a dangerous thing - if you are expecting too much you can end up sorely disappointed. I can’t lie, I went into Thelma & Louise incredibly excited with my expectations sky high. This is a movie I have always loved and even studied for a project in college, and the prospect of seeing it transformed into my favourite medium (surely everything would be better with music? Well, maybe not) made this one of my most anticipated shows of the year. While it is certainly not a terrible show by any stretch, it did leave me feeling sorely disappointed. The frustration is that the potential is there and it is clear to see. There are moments of brilliance to be found here, but this musical needs more time in development and a clearer sense of identity to take it to the level that its best elements proved it could reach. One thing I will say about this show is it does get stronger as it progresses, with Act Two far more cohesive and in better shape than the first. With the right care and attention it can easily get where it needs to be.

Thelma & Louise is far from a total car crash, but it does make you feel as if it has left you lingering in midair waiting for an impact that never came. This musical may not be in the middle of nowhere but, in its current state, it can see it from here.

Thelma & Louise plays at the Young Vic until 24th October. Tickets from https://www.youngvic.org/whats-on/thelma-louise/

Photos by Helen Murray