I am still recovering from the impact of seeing Girl from the North Country. For those that don't know, the show is a musical based on the music of Bob Dylan. The title comes from a Dylan song from 1965, the earliest song used, albeit without vocals. The story was written by Irishman Conor McPherson and, as other people have noted, is not dissimilar to the works of John Steinbeck. It is set in a boarding house in Dylan's hometown of Duluth, Minnesota in the winter of 1934 when America is in the grip of the Great Depression. The plot is deceptively simple but what makes it great, at least when it came to the performance I saw, was the skills of the actors involved. Indeed they won over my three companions and they were largely unfamiliar with Dylan's work and so their responses were due to the actors skills in word and song. (I think one aspect of my enjoyment was the wonderful interpretations and performances of songs I was largely familiar with). All of us agreed that Frances McNamee was a standout as Elizabeth Laine. She created a believable character and gave us wonderful performances of Like A Rolling Stone and Forever Young amongst others. A bit unfair as there were a number of times where each main actor shone but she was the one we were discussing when it was over.
To be a Dylan guy for a second, I found the song choices interesting as McPherson largely stayed away from the big names and big albums. There was only one song each from the celebrated albums Blood on the Tacks (1975) and Desire (1976) whereas less favourably reviewed albums Street Legal (1978) and Infidels (1983) supplied three songs each. I personally find Street Legal to be an underrated album and grew up listening to Infidels so was delighted with the choices. Also included is a personal favourite I Want You (beautifully performed as a duet by Gregor Milne and Katherine Draper). All in all, McPherson has chosen songs that fit the narrative and create an atmosphere that got an emotional reaction out of me. Oddly, for me as a Dylan fan, one of the performance that resonated with me, and my husband, was of the relatively new song, and newest one used, Duquesne Whistle (performed by Ross Carswell). One of the more lively songs. You Ain't Going Nowhere equally picked up the mood. Other interesting aspects are the medleys created (with such smooth transitions) and how all the songs conform to the overall style and mood.
Here's a summary of some of the songs that feature in the show in general (with albums included as I can't help myself):
- Sign on the Window (New Morning, 1970)
- Went to See the Gypsy (New Morning, 1970)
- Tight Connection to My Heart (Has Anybody Seen My Love) (Empire Burlesque, 1985)
- Slow Train (Slow Train Coming, 1979)
- License to Kill (Infidels, 1983)
- I Want You (Blonde on Blonde, 1966)
- Like a Rolling Stone (Highway 61 Revisited, 1965)
- What Can I Do For You? (Saved, 1980)
- Make You Feel My Love (Time Out of Mind, 1997)
- You Ain't Going Nowhere (Bob Dylan's Greatest Hits Vol. II, 1971, original recording 1967 recording with The Band released in the Basement Tapes, 1975)
- Jokerman (Infidels, 1983)
- Sweetheart Like You (Infidels, 1983)
- True Love Tends to Forget (Street Legal, 1978)
- Girl from the North Country (Freewheelin' Bob Dylan, 1965) (Acoustic)
- Ballad of a Thin Man (Highway 61 Revisited, 1965)
- Hurricane (Desire, 1976)
- All Along the Watchtower (John Wesley Harding, 1976)
- Idiot Wind (Blood on the Tracks, 1975)
- Duquesne Whistle (Tempest, 2012)
- Señor (Tales of Yankee Power) (Street Legal, 1978)
- Is Your Love in Vain? (Street Legal, 1978)
- Forever Young (Planet Waves, 1974)
