The cast of GIRL FROM THE NORTH COUNTRY. Photo Credit: Johan Persson
Leaning on Bob Dylan’s glorious melodies and poetic lyrics, Conor McPherson’s GIRL FROM THE NORTH COUNTRY is a stripped-back, heart-warming, and thought-provoking play packed with emotion.
It’s hard to imagine Bob Dylan’s extensive back catalogue could be woven into a 1930s musical, yet celebrated playwright Conor McPherson has managed to do just that.
Set in 1934 during the Great Depression, GIRL FROM THE NORTH COUNTRY is a heartbreaking story about family and love. It follows a group of diverse characters who come together as residents of a rundown guest house in Minnesota.
With the bank threatening to foreclose, proprietor Nick tries to hold things together whilst also caring for his wife, Elizabeth, who has dementia. Help comes from their adopted daughter Marianne and their biological son, Gene, both of whom have their own struggles.
Guests include a couple whose adult son has a mental age of four, a black boxer who was unjustly imprisoned, a doctor and a bible salesman. As the group search for a future and hide from the past, they find themselves facing unspoken truths about the present.
Using the guest house as a frame for Dylan’s glorious lyrics and music, McPherson eschews the conventional jukebox musical format to deliver a stripped-back, heart-warming, and thought-provoking play packed with emotion.
Working closely with movement director Lucy Hind, McPherson makes good use of Rae Smith’s sparse yet seductively staged set and Mark Henderson’s eloquent use of low light to focus in on the characters and their stories, driven by visceral and painfully sincere performances from the talented cast.
All are excellent here, particularly Gregor Milne, who delivers just the right amount of grit and necessity to the role of Gene, and Justina Kehinde as Marianne, whose powerhouse performance brings control and restraint to the couple’s adopted daughter.
Nichola MacEvilly as Mrs Neilsen and Joshua C Jackson as the pugilist Joe Scott equally cast a wonderful spell over the audience.
But it is Frances McNamee who steals the show as Elizabeth, bringing warmth and sensitivity to the role. Her rendition of LIKE A ROLLING STONE stands out as a highlight, showcasing not only her extraordinary vocals but also the depth of Dylan’s lyrics.
A total of nineteen Dylan songs are expertly weaved into the piece, including SLOW TRAIN, I WANT YOU, LIKE A ROLLING STONE, MAKE YOU FEEL MY LOVE, IDIOT WIND and JOKERMAN. All are recognisable but performed in a fresh way, giving them a new life, using instruments from the 1930s, including a piano, violin, mandolin, guitars, and double bass.
Yet, for all its power, GIRL FROM THE NORTH COUNTRY isn’t an easy watch. The subject matter is dark, dealing with issues about money, mental health, and unrequited love, and the setting isn’t the most joyous.
That said, there are still plenty of laughs to be had throughout, and while it may not be the most uplifting of plays, the music ensures this story ends on a hopeful note with a beautiful reinterpretation of FOREVER YOUNG.
If you’re a fan of McPherson’s previous work or Bob Dylan’s music, you’re sure to love GIRL FROM THE NORTH COUNTRY. A thought-provoking play full of hope, heartbreak, and soul that boldly reimagines Dylan’s legendary songs like you’ve never heard them before.
GIRL FROM THE NORTH COUNTRY runs at The Lowry, Salford, until 24 September 2022
Donna is the Founder and Editor of Frankly, My Dear UK. By day, she works as a digital marketing specialist, by night she reviews film, theatre and music for a wide range of publications including WhatsonStage and The Reviews Hub. Loves Formula 1, prosecco and life.
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