Girl from the North Country, currently on a limited run at The Old Vic, brings a fresh perspective to the “jukebox musical” genre. The production began when Bob Dylan’s record label approached writer and director Conor McPherson in 2013, seeking a theatrical adaptation that showcased Dylan’s extensive music collection. Initially wary, McPherson set the story during the Great Depression in 1934—years before Dylan’s own birth in Duluth, Minnesota. This choice allowed the songs to resonate as timeless expressions of the human condition instead of simply historical artifacts. Since its debut at The Old Vic in 2017, it has transferred to the West End and Broadway, earning critical acclaim and multiple awards before its current return.
The play offers an evocative glimpse into life at a struggling guesthouse in Duluth during a brutal winter. Rae Smith’s set design features sepia hues and warm wood paneling, creating a melancholic, lived-in feel. Movable set pieces help transition between scenes, with the ensemble often engaging in choreographed movements illuminated by Mark Henderson’s lighting. Projections evoke wintry roads and faded photographs, enhancing the atmosphere of nostalgia and hardship.
The story centers around the Laine family, who own the guesthouse and are facing financial despair. Nick Laine (Colin Connor) strives to keep the establishment afloat while caring for his wife, Elizabeth (Katie Brayben), who suffers from a degenerative mental illness that causes her to vacillate between clarity and confusion. Their son, Gene Laine (Colin Bates), is an aspiring writer grappling with self-destructive tendencies, and their adopted daughter, Marianne Laine (Justina Kehinde), is pregnant and confronting an uncertain future.
The guesthouse becomes a refuge for various characters, each with their own struggles. Among them are the opportunistic Mr. Burke (David Ganly), his wife (Rebecca Thornhill), and their troubled son Elias (Steffan Harri), as well as the well-meaning yet questionable Reverend Marlowe (Eugene McCoy) and Joe Scott (Sifiso Mazibuko), a boxer with a shadowy past. Dr. Walker (Chris McHallem) serves as both narrator and Elizabeth’s physician. While the interconnected storylines are numerous, they often skim the surface, emphasizing a community in transition rather than delving deeply into individual character arcs.
Bob Dylan’s music underpins the score, arranged by Simon Hale to evoke the era’s spirit. The songs are not merely traditional musical numbers that push the story forward; rather, they serve as emotional highlights that reflect the characters’ internal landscapes and the overall mood of the time. Popular classics like “Like a Rolling Stone” and “Forever Young” are performed with fresh interpretations, while lesser-known tracks organically weave into the narrative. The ensemble cast of 23 includes many musicians who play live on stage, enriching the theatrical experience. Vocal performances are strong overall, particularly Katie Brayben’s stirring renditions as Elizabeth Laine. The production successfully merges spoken dialogue with musical elements, crafting a unified artistic vision that doesn’t require prior familiarity with Dylan’s songs.
Girl from the North Country is a poignant and musically enriching exploration of resilience in the face of adversity.
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