Written and directed by celebrated playwright Conor McPherson and featuring Tony Award-winning orchestrations by Simon Hale, GIRL FROM THE NORTH COUNTRY reimagines 20 legendary songs of Bob Dylan as they’ve never been heard before, including "Forever Young," "All Along The Watchtower," "Hurricane," "Slow Train Coming," and "Like A Rolling Stone."
It’s 1934 in Duluth, Minnesota. We meet a group of wayward travelers whose lives intersect in a guesthouse filled with music, life and hope. Experience this "profoundly beautiful" production (The New York Times) brought to vivid life by an extraordinary company of actors and musicians.
It’s not your typical toe-tapper, nor is it a straightforward play. It is a “jukebox musical” featuring the spectacular songs of Bob Dylan, married with a weighty book by acclaimed playwright Conor McPherson. I would term it as a musical play, a narrative where songs are woven in, yet they do not carry plot points or move the story forward. Instead, Dylan's songs are inner monologues of the characters or emotional counterpoints to events happening before you. I would say it is haunting, revelatory, and a triumph of emotional narrative. It is not a flashy musical with special effects and huge dance numbers, but rather a somber meditation on Depression Era America and deep cuts of Bob Dylan’s songbook. It’s brilliant, and it will make you think. It’s akin to watching ghosts sing Americana arias, something you will never quite shake.
Written and directed by Conor McPherson, Girl From The North Country is a musical that still feels like a play with music. It's a show aimed more directly at the head than the heart, and jammed with tropes, references and outright character homages to notable works of American Gothic literature. (This, I suspect, is where much of the audience likely got lost: it's often hard to enjoy a genre pastiche when you're neither deeply aware of the genre, or aware that you're seeing a pastiche.) When the show rockets into music mode, often with actors onstage picking up instruments or turning into 'radio singers' around a microphone, none of the vagaries of plot and characterization matter much anymore. Like Spring Awakening, this is an impressionistic musical, rather than a representational one: what is being sung matters more as a mood piece and as a soundtrack cut than as actually related to character or situation. Mamma Mia, this is not.
2017 | West End |
Original West End Production West End |
2017 | West End |
West End Transfer Production West End |
2018 | Off-Broadway |
Public Theater North American Premiere Off-Broadway |
2019 | West End |
West End Return Engagement West End |
2022 | Broadway |
Original Broadway Production Broadway |
2023 | US Tour |
North American Tour US Tour |
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