Girl from the North Country

by Conor McPherson, songs by Bob Dylan

seen at the Old Vic on 20 August 2025

This is a revival of the Old Vic's 2017 production with a new cast, providing a welcome opportunity to see the piece again.

See my review from 6 September 2017 for details of the production. 

What I noticed particularly on this viewing was how melancholy the narrative arc was. Unusually for a musical, no applause was offered by the utterly engaged audience for any of the songs, allowing for a completely unbroken span of attention throughout the performance, and preserving the atmosphere of increasing desperation without distraction. This was by no means because the audience was dissatisfied, as the enthusiastic applause at the end demonstrated, but somehow a sense prevailed that interim applause would break the spell.

Uncle Vanya

by Anton Chekhov (in a version by Conor McPherson)

seen at the Harold Pinter Theatre on 11 March 2020

Ian Rickson directs Toby Jones as Vanya, Richard Armitage as Doctor Astrov, Ciarán Hinds as the Professor, Aimee Lou Wood as Sonya, Anna Calder-Marshall as Nana, Rosalind Eleazer as Helena, Peter Wight as 'Waffles' Telegin and Dearbhla Molloy as Grandmaman in  production beautifully designed by Rae Smith - a ramshackle cavernous room taking up the entire stage space of the theatre, with the unadorned back wall and a massive supporting girder - and even safety notices on two of the doors - somehow not looking out of place in the dustladen gloom.

Though not exactly dressed in the late nineteenth century - Sonya and Grandmaman both weaer capacious pantaloons - the sense of a time at a loose end, with enervated overly intellectual but woefully underemployed men and frustrated women is marvellously rendered by the whole cast, from the Professor's overweening pomposity and self-regard, through Astrov's idealism battling with his despair, to Sonya's crushed hopefulness and Helena's bored and exasperated disillusionment with the choices she has made. Because every character is strongly delineated, it is impossible to miss the fact that none of the m really understands any of the others, sidetracked as each is by his or her own obsessions and frustrations. All this can lead to delightful sparks of social comedy as well as to heartbreaking intimations of loss, ennui and future blight.

Girl from the North Country

by Conor McPherson, songs by Bob Dylan

seen at the Old Vic on 6 September 2017

Conor McPherson directs his own musical play set in a debt-ridden guesthouse in Duluth Minnesota (Dylan's birthplace) in 1934; a sketchy story from the Depression years is used as the framework for a score od Dylan's songs drawn from a wide range of his recordings, here re-arranged and sung by an exemplary group of soloists and backing singers. Principal parts are taken by Ciarán Hinds (Nick, the landlord), Shirley Henderson (Elizabeth, his wife suffering from dementia), Sheila Atim (Marianne, their adopted coloured daughter) and Ron Cook (the narrator/doctor, in a style reminiscent of 'Our Town' by Thornton Wilder).

Though not at the bottom rung of society's ladder, most of the characters are struggling to avoid it, not least Nick, the proprietor of the guesthouse, faced with impoverished guests, an increasingly sick wife, and a daughter who has fallen pregnant but is unwilling to accept the (somewhat forced) offer of marriage from an elderly (white) widower. The possibility of Nick's lover providing a financial escape once the probate from her husband's will is settled in her favour evaporates in 'Bleak House' style when costs consume the estate; the outlook is extremely grim with the presence of a gun on stage intimating the worst. However, the denouement, desperately sad as it must be, is nonetheless tinged with unexpected and moving dignity; there is even hope for Marianne as she takes up with someone who may be an escaped prisoner but who is nevertheless kind and honourable (it is noticeable but not forced on one's attention that her name is nearly Mary and his is Joseph). 

The stories are not deeply engaging, being little more than anecdotal, and the idea of a motley group of people thrown together by circumstance lends only a superficial unity to the proceedings, but all this is hardly the point. The production owes its deserved success to the wonderful songs - the lyrics are revealed to be at times heart-wrenchingly appropriate despite their familiarity - and to the inventive way in which they have been adapted to suit the situation. Add to this the skill and commitment of the instrumentalists and the singers, and the result is a poignant insight into the lyricism of Dylan's songs arising from a really entertaining ensemble piece. Curiously, the title song was omitted from the performance we saw, even though it was listed in the program, but many other songs were a sheer joy to listen to.