Girl from the North Country

Girl from the North Country, currently enjoying a limited run at The Old Vic, represents a distinctive approach to the "jukebox musical" genre. Its genesis lies in a direct approach made to writer and director Conor McPherson by Bob Dylan’s record company in 2013, seeking a theatrical production to incorporate Dylan’s extensive musical catalogue. McPherson, initially hesitant given his unfamiliarity with musicals built around an artist's songs, conceived a narrative set in 1934 during the Great Depression. This setting, predating Dylan’s birth in Duluth, Minnesota, allowed the songs to operate as timeless reflections of human experience rather than literal historical anchors. The production premiered at The Old Vic in 2017, subsequently transferring to the West End and Broadway, garnering critical acclaim and awards before its current return.

We are offered an impressionistic portrayal of life in a struggling guesthouse in Duluth, Minnesota, during the harsh winter of 1934. The set, designed by Rae Smith, is characterised by sepia tones and wood panelling, often creating a somber, lived-in atmosphere. Movable components of the set facilitate transitions between scenes and allow for the ensemble to engage in choreographed movement, sometimes silhouetted by Mark Henderson’s lighting design, which uses projections above the stage to evoke windswept roads or grainy photographs. The overall visual impression is one of faded memories and a sense of enduring hardship.

The narrative itself follows the Laine family, owners of the guesthouse, grappling with financial ruin. Nick Laine (Colin Connor) attempts to maintain the failing establishment while managing his wife Elizabeth (Katie Brayben), who contends with a degenerative mental condition that causes her to drift between states of awareness and sudden, often piercing, clarity. Their son, Gene Laine (Colin Bates), is portrayed as an aspiring writer prone to self-sabotage, while their adopted Black daughter, Marianne Laine (Justina Kehinde), is unmarried and pregnant, her past and future uncertain.

The guesthouse serves as a transient hub for various characters, each carrying their own burdens and stories. These include the opportunistic Mr. Burke (David Ganly) and his wife (Rebecca Thornhill) with their afflicted son Elias (Steffan Harri), the seemingly benevolent but dubious Reverend Marlowe (Eugene McCoy), and Joe Scott (Sifiso Mazibuko), a boxer with a hidden past. Dr. Walker (Chris McHallem) acts as both the narrator and Elizabeth’s physician. The interconnected storylines, though numerous, often remain at a surface level, contributing to a sense of a community in flux rather than deep individual character studies.

Bob Dylan’s music forms the show's score, with Simon Hale's arrangements creating a distinct sound that evokes the period. The songs are not presented as traditional musical theatre numbers that overtly advance the plot; instead, they function more as an emotional underscore, reflecting the internal states of the characters and the broader mood of the era. Some well-known songs, such as "Like a Rolling Stone" and "Forever Young," are performed with new interpretations, while other less familiar tracks are woven into the fabric of the narrative. The cast of 23, many of whom also play instruments on stage, contributes to the live musical experience. Vocal performances are strong, with Katie Brayben’s portrayal of Elizabeth Laine, particularly during musical numbers, noticeable. The production blends spoken dialogue with musical segments, creating a cohesive artistic vision rather than simply showcasing a catalogue of hits, which does not rely on any prior knowledge of the songs.

Girl from the North Country offers a melancholic yet musically rich exploration of human resilience amidst adversity.


Photo credit: Manuel Harlan