As the audience eagerly chatters in anticipation, a scene not unlike a film unfolds, drawing spectators along with it.
A lone man walks on stage and begins to sing unexpectedly. The lights gradually dim, both on stage and in the auditorium, as others walk about their business and a set is lowered down. Everyone is cocooned. Everyone is both part of the community in Girl from the North Country and a fly-on-the-wall watcher – it is an experience as much as a performance.
Set in 1934, Girl from the North Country transports viewers to a time-weathered guesthouse in Duluth, US and draws them into the lives of its inhabitants for a year. The narrative is creatively conveyed through Bob Dylan songs, making the show unique in its interpretation of a musician’s repertoire. Director and writer, Conor McPherson, has created something that is possibly the perfect homage to one of the world’s greatest artists.
It is not a biopic directly about Dylan, which you may be expecting, it does something more than that; it brings his hits to life through storytelling, placing them within the contexts that shaped both him and his work.
There is an immediate introduction to a calamity of characters, each with their own hopes, dreams and foibles.
We meet guesthouse owners Nick Laine (Colin Connor) and his wife Elizabeth (Frances McNamee) who suffers from dementia. It quickly becomes apparent their marriage is both over yet tightly bonded. Nick’s heart lies with long-stay guest Mrs Neilsen (Maria Omakinwa) but will he take the chance to be with her if it comes, or is his heart with her because the money she’s expecting could save his guesthouse? Does he believe he deserves a happy ever after enough to take it?
Their children Gene (Gregor Milne) and Marianne (Justina Kehinde) also carry their own burdens. Who is the father of Marianne’s child? Gene is keen on being a writer but the need to go to work is pressing – will opportunity present itself? Alongside them, the personality of the era is given by a variety of periphery characters.
A relatively small cast make up the ensemble of this production. Many are musicians during the performance as well as showcasing acting, singing and dancing skills. Joshua C Jackson, Justina Kehinde and Frances McNamee all captivate the audience with their solos. The duet of ‘I Want You’ between Gregor Milne and Eve Norris as Katherine Draper was stunningly gentle.
Just as the audience are rooted to seats once the production begins, the inhabitants of Duluth are rooted to the spot. As time goes on, the audience is wrapped in anticipation of something coming next, but like the characters, not knowing exactly what.
There are moments where certain songs and movements come across as a little contrived. Whilst they are superb musically and still enjoyable in isolation, it doesn’t quite flow with the narrative as strongly as others at particular points. Additionally, although the low lighting is highly atmospheric, it can be a barrier to the audience when it is set very low. These instances were few and far between though.
The talent within this company is high, the concept is exceptionally creative, and the performance provides something more than the usual theatre show. It is well worth taking the time to go and see.
For future productions and performances, view Liverpool Empire’s website at Liverpool Empire Box Office https://www.atgtickets.com/venues/liverpool-empire/
Reviewer: Ezzy LaBelle
Reviewed: 11th January 2023
North West End UK Rating: ★★★★