By Jason and Alisha Hagey
Conor McPherson’s (Writer and Director) Tony Award-winning musical, Girl from the North Country, stages an evocative narrative landscape with a cavalcade of characters that hearkens back to the emotional and psychological terrains charted by the likes of Tennessee Williams, Eugene O’Neill, and Langston Hughes. Much like Williams’ profound exploration of fragile human emotions and the haunting specter of desire and disillusionment in the American South, Girl from the North Country captures the underlying despair and yearning for connection in the harsh realities of the Midwest during the Great Depression. O’Neill’s plays often explore themes of human suffering, the dark undercurrents of family dynamics, and the struggles of individuals against collective and personal constraints – and Girl from the North Country does not shy away from these same palpable, existential realities. Also, like Hughes, Girl from the North Country explores the hopes, dreams, and relentless battles against societal boundaries while struggling for a sliver of sunshine in the pervasive gloom of the Great Depression’s economic hardships. Girl from the North Country (GFTNC) owes much to these literary and dramatic predecessors. GFTNC explores the human condition, where humor and tragedy are two sides of the same coin, and couples it with the lyrics and rhythms of Bob Dylan songs set to the award-winning orchestrations of Simon Hale to create something unique.
Set in the year 1934 in Duluth, Minnesota, a group of wayward travelers’ lives intersect in a guesthouse filled with music, life, and hope. Seeing GFTNC, you will experience this exquisite production brought to vivid life by an extraordinary company of actors and musicians.
GFTNC is a production about longing, loneliness, and loss, requiring an ensemble that can handle the heavy subject matter while singing and sometimes playing instruments. Broadway Across America’s cast is up for the challenge and does so with enthusiasm and skill. Most actors portray a character but provide backup movement and vocals during songs. Their energy keeps the scenes alive, vivid, and engaging. Their talent is broad-ranging and impressive. They flow through scenes with ease and grace while singing with powerful range and bravado. They are a joy to watch in every scene and shine with every moment.
With such a large cast of outstanding performances, a few need particular praise.
Two powerhouses of this production are Rayla Garske (Mrs. Nielsen) and Jill Van Velzer (Mrs. Burke). Garske infuses her performance with deep emotion. Her voice conveys the subtleties of the lyrics, drawing listeners into the narrative and making them feel connected to the song’s message. Van Velzer performs with a captivating stage presence. Her confidence, charisma, and connection with the audience elevate her performance, making it not just an auditory experience but also a visual and passionate one. She’s also excellent on the drums.
Having to play everything from pathos to comic relief, Kelly McCormick (Elizabeth Laine) is the glue of this production. The character of Elizabeth suffers from mental illness (possibly dementia), which profoundly affects her interactions and the perceptions others have of her. Her condition is a source of strain for her family and those around her, yet it also provides her with an often brutally honest and sometimes hilarious perspective on events and people. McCormick gives this role depth and humanity with a wry sense of comic timing. Additionally, McCormick’s vocals are outstanding, and her musical prowess effortlessly elevates Dylan’s “Like a Rolling Stone” and “Forever Young.”
At first glance of the stage, audiences immediately begin to see a glimpse that GFTNC isn’t a typical musical. Rae Smith (Scenic and Costume Design) drapes the world with a well-loved older upright piano across from a shiny drum kit, at once anachronistic and harmonious.
Simon Baker (Sound Design) layers ambiance from radio shows with touches of the everyday familiar. Without pulling attention from the narrative, the subtle atmosphere periodically underscores moments.
Simon Hale (Orchestrations, Arrangements, and Music Supervision with additional arrangements by Simon Hale and Conor McPherson) takes beloved songs and brings a new depth to their sound. The harmonies are gorgeous, the solos feel poignant, and the texturing between songs is delicious.
Lucy Hind (Movement Direction) plays with dualities. At times actors feel like they are outside of their character and so combine to be an ensemble (or as an extension of the feeling of the monologue). Then, when not expected, they begin moving as their character would. There is such novelty to this approach. It is exciting to watch and follow the characters and their personal moments of movement.
Mark Henderson (Lighting Design) creates some incredible and unexpected moments. Playing with silhouette and often severe lower lighting gives the scene a nuance. Henderson paints with lights to transport us on an atypical approach to an atypical narrative. The lighting is its own character.
The intricacy of storytelling, ensemble acting, and soul-stirring music in Girl from the North Country transcends the usual expectations of musical theatre. This is not just a play, nor is it merely a concert of Bob Dylan’s music. It is an immersive experience that captures the essence of human resilience and the unyielding hope of that spirit in the face of adversity. The production cradles the audience in a journey of melancholy, laughter, and reflection. GFTNC reflects a literary legacy of life, with all its imperfections and beauty, while inviting audiences to see themselves and their stories of hardship and hope. GFTNC is a timely reminder of how theatre can help unite, inspire, and heal us during our own troubled times.
Zions Bank/Broadway at the Eccles Presents: Girl From The North Country
Written and Directed by Connor McPherson, Music and Lyrics by Bob Dylan
The George S. and Dolores Doré Eccles Theater
131 Main St, Salt Lake City, UT 84111
June 11-16, 2024.
Tuesday, June 11, 2024 7:30PM
Wednesday, June 12, 2024 7:30PM
Thursday, June 13, 2024 7:30PM
Saturday, June 15, 2024 2:00PM
Saturday, June 15, 2024 8:00PM
Sunday, June 16, 2024 1:00PM
Sunday, June 16, 2024 6:30PM
Tickets are $52.50 – $159.00
Broadway-at-the-Eccles.com
801.355.2787 (ARTS)
Recommended for ages 12 and up.=
Duration: 2 hrs, 30 mins with 1 intermission.
Facebook: @BroadwayAtTheEccles
Instagram: @BroadwayAtTheEccles
NorthCountryTour
X: @NorthCountryBwy
Facebook: @NorthCountryBroadway
Instagram: @northcountrybroadway
Accessibility Information:
ASSISTED LISTENING DEVICES
Are available at all performances. Please visit the patron services window in the main lobby.
OPEN CAPTIONED
During our captioning performances, we offer a screen near the stage that will provide live captions throughout the show. Patrons who are interested in the captioned performance should select seats located at Orchestra Right on the Main Floor (excluding Orchestra Pit seating).
Saturday, Jun 15, 2024 at 2:00 PM
AUDIO DESCRIPTION:
The spoken narration of the performance’s key visual elements. This option is available on the following performances. Devices are available at the Patron Services window in the main lobby.
Friday, Jun 14, 2024 at 8:00 PM
ASL Interpreted:
American sign language is scheduled upon request. Listed below are our current scheduled performances. If your show isn’t listed below or please contact us for assistance at Utah.Service@BroadwayAcrossAmerica.com
Thursday, June, 13th, 2024 at 7:30 PM
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