Review Roundup: THELMA & LOUISE Makes World Premiere at the Young Vic

The Young Vic Theatre has officially opened the world premiere of Thelma & Louise, a brand-new musical adaptation of CALLIE KHOURI’s Oscar and Golden-Globe winning movie featuring music by Grammy-nominated iconoclast Neko Case and directed by Trip Cullman. Thelma & Louise will play at the Young Vic until Saturday 24 October 2026. Read the reviews below!

More than thirty years after the film first premiered in cinemas throughout the US, this empowering, funny and deeply moving story about freedom, solidarity and unshakeable friendship, has been reimagined by Khouri for the stage at a time when the politics of the original feel more relevant than ever.

Thelma & Louise stars Olivier Award nominated Amy Lennox (Cabaret, Kinky Boots) as Thelma and Olivier Award nominated Rachel Tucker (Wicked, Come From Away) as Louise, alongside Trevor Dion Nicholas (Hercules, Hadestown) as Hal; Jordan Luke Gage (& Juliet, Bonnie & Clyde) as JD;  Samuel Edwards (Anything Goes, Wicked) as Darryl; Alex Gibson-Giorgio (Top Hat, Sinatra The Musical) as Jimmy; Letitia Hector (Tina - The Tina Turner Musical, 2:22) as Sarah; Tamlyn Henderson (MAMMA MIA!, Waitress) as Harlan / Max; and Jack Butterworth (American Psycho, Here We Are) as Trooper/Singer. The ensemble is made up of  Suzie McAdam (Much Ado About Nothing), Eleanor Walsh (Heathers The Musical), Alex Given (Guys and Dolls), Kamilla Fernandes (Sunset Boulevard), Rushand Chambers (The Lion King) and Joshua Dever (Bat Out of Hell).

On a whim, Louise invites her best friend Thelma  for a spontaneous weekend getaway. After an ill-fated encounter with a stranger at a roadside honkytonk, their lifelong friendship is forged into something dangerous and unbreakable. Propelled by a soaring musical score, they set out on a last-chance adventure in a world where every card is stacked against them.

Stuart King, London Box Office: With some fine ensemble work from the cast (which includes Jack Butterworth, Alex Gibson-Giorgio and Letitia Hector) the bar scenes with their raucous mix of pick-ups, fights, and line dancing, occupy the eye in director Trip Cullman’s production. Meanwhile the book by Callie Khouri and songs written by Neko Case provide an unmistakably southern feel which is less musical theatre and more raw-indy-rock-meets-moody-ballads in style.

Penny, Theatre and Tonic: Whilst this is perhaps not a traditional musical, it’s a faithful and well structured adaptation of a much loved modern classic film, with music that doesn’t overwhelm or distract from its original story. At its heart, it’s a story of female empowerment centred around an unbreakable bond between two ordinary women who shake off the “good girl” personas expected by society in favour of taking control of their lives and destinies. It’s funny, emotional, uplifting and defiant – with two phenomenal performances from its brilliant Thelma and Louise.

Jonathan Baz, Jonathan Baz Reviews: But there are times when the stage show falls short of the brilliant original. While Lennox and Tucker are an inspired choice to replicate the movie’s Geena Davis and Susan Sarandon, casting the (talented) Trevor Dion Nicolas as Hal, the cop on the women’s tail and a role originally played by Harvey Keitel, is less successful, not helped by a thinly written sub-narrative involving his wife and daughters.

Nick Curtis, The Standard: And all together, this is, you know… fine. But beyond a wish to further commercially exploit a piece of existing intellectual property, the translation of a work of art – particularly a treasured, iconic one – from one format to another needs to have an animating principle. Did Thelma and Louise need to become a musical? No.

Andrzej Lukowski, Time Out: It doesn’t quite work though, in large part because it doesn’t make a convincing argument for why this story needs this treatment. Not to say there shouldn’t be a Thelma & Louise musical. But I think Khouri and co could have done more with the medium than offer up the exact plot of Thelma & Louise (the film) with songs bolted on.

Julia Rank, London Theatre: There is a considerable amount of anarchic spirit, but it doesn’t go as far as it could or fully embrace what musical theatre has to offer. Adapted by Callie Khouri from her own Oscar-winning screenplay, it follows the original story faithfully. Along the way, Harlan (Tamlyn Henderson), a local “good ol’ boy”, tries to rape Thelma in the parking lot and is shot by Louise. No one would believe that it was self-defence as he and Thelma were seen dancing and flirting, so the only option is to run for it.

Greg Stewart, Theatre Weekly: Amy Lennox and Rachel Tucker are exceptional in the title roles. Lennox captures Thelma’s transformation from timid and uncertain to increasingly self-assured with tremendous warmth and charm, while Tucker brings steel, vulnerability and emotional depth to Louise. Together they create a believable friendship that feels lived-in from the outset, making the emotional stakes of their journey resonate throughout. Trevor Dion Nicholas lends genuine humanity to the sympathetic Hal, while Jordan Luke Gage delivers a charismatic and sharply judged performance as the manipulative JD.

Cara Brazier, West End Best Friend: Remaining as important today as it was the first time around, this exploration of the female experience is a true love letter to friendship, identity and hope. Despite some unevenness in its musical adaptation, this adaptation of Thelma and Louise brings this iconic work to a new generation, celebrating a story of freedom and self-discovery that continues to resonate today.

Arifa Akbar, The Guardian: None of it is powered by enough emotion. When the road trip ends at the mouth of the Grand Canyon, the women’s T-Bird surrounded by police and revving dangerously, you are moved not by what is unravelling before you but by the memory of the unforgettable, defiant ending of the film. Did they really just do that?

Daz Gale , All That Dazzles: 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.

Chris Omaweng, LondonTheatre1: As far as the story overall goes, it is largely faithful to the motion picture. But there were no memorable songs to speak of, or even lyrics therein. It is perhaps too harsh to say the talent on stage was wasted, but I can’t help thinking a cast of this calibre deserved better material. Some judicious pruning to turn this into a ninety-minute interval-free show might have made this show more engaging. There are standout performances from Amy Lennox and Rachel Tucker to be enjoyed. But I ultimately struggled to maintain interest in a show that was very run-of-the-mill, nothing less and nothing more.

Louise Penn, BroadwayWorld: There's always something to catch the eye in Thelma & Louise. As for the songs, occasionally a lyric doesn't quite catch, but every song has its place in moving along plot and characterisation. Thelma & Louise works as a musical and, more importantly, matters as a comment on why these two made the choices they did.

Clive Davis, The Times: The good news, all the same, is that Lennox and Tucker are terrific singers who bring real passion to humdrum lyrics. You still long for them to outwit the authorities as they embark on their mini-crime spree. Their picaresque adventures unfurl on a sprawling bar room set designed by Christine Jones and Brett J Banakis. The choreographers Bobbi Jene Smith and Or Schraiber deliver a modest amount of line dancing that goes some way to generating local atmosphere.

Average Rating: 65.4%