Girl from the North Country

Reviewed by Matt Forrest

Opening Night verdict ⭐️⭐️⭐️⭐️

To many Robert Zimmerman, or Bob Dylan to use his stage name is the greatest songwriters of all time. With a career spanning six decades and spawning well over 40 albums, Dylan undoubtedly deserves his spot in the conversation for who is the GOAT. Either love his music or loathe it you can’t deny the volume and quality of his work.

With that in mind there is something of the inevitable about Dylan’s music, being turned into a musical; however, the result isn’t quite what you had in mind and that’s down to writer/director Conor McPherson (The Weir, Port Authority).

McPherson’s Girl from the North County takes place in Dylan’s home town of Duluth, Minnesota, some seven years before the singer was born. It’s 1934 and Duluth, like the rest of America, is still suffering from the impact of the Wall Street crash and the great depression.

Guest house proprietor, Nick Laine, (Colin Connor), has a great number of problems. Along with trying to keep the business afloat, he must care for his dementia riddled wife, Elizabeth (Frances McNamee), help his son, Gene (Gregor Milne) stay sober long enough to hold down a steady job, appease his mistress, the good natured Mrs Neilsen (Nichola MacEvilly), and see that his pregnant, adopted daughter Marianne (Justina Kehinde) is wed to a local ageing business man, Mr Perry (Teddy Kempner), in a bid to secure a stable future for the young women.

In addition to his immediate family, the guest house must remain open in order to keep a roof over the head of the various hard-on-their-luck waifs and strays the lodgings has collected, including an ex-con boxer, a sinister priest, and a family with a troubled son. Under the watchful eye of the local GP and morphine addict, Dr Walker (Chris McHallem) their stories intertwine with one another leading to a fateful Thanksgiving dinner that will change their lives forever.

Those expecting a jukebox musical of Dylan’s greatest hits are in for a rude awakening. For sure there are some crowd pleasers, Hurricane, I Want You, and Like a Rolling Stone to name but a few, but the music chosen spans Dylan’s career up to 2012, with the song Duquesne Whistle. Whilst most musicals use their songs to drive the narrative along, the song choice here is to show a shared connection between the characters.

McPherson’s bleak script tackles some meaty subject matter, with dementia, mental illness, financial hardship, and racism (all so very relevant to this day), which in lesser hands could stray into melodrama, however, Girl From The North Country treads that line very carefully aided by a fantastic, hardworking ensemble cast, some powerful central performances, great song-and-dance routines, and a script punctured with a enough humour to keep it entertaining for all the right reasons.

Despite the rather grim setting and subject matter, the production has a great deal of energy to it, with the 20 strong cast frequently on stage together joining in backing vocals, playing various musical instruments, or dancing, whilst the production’s band The Howlin’ Winds expertly delve through Dylan’s back catalogue.

The production values are right out of the top draw, with Rae Smith’s scene and costume design, marrying perfectly with Mark Henderson’s lighting design and Simon Baker’s sound design to create an authentic dreary, dank claustrophobic setting with shoots of colour throughout. At times some of the set pieces resemble a painting in scale composition. The authenticity of the production helped by the use of instruments only around in the 1930’s.

My only real criticism is that at times there are too many narratives, and not enough time devoted to them, so some plot strands don’t quite reach a satisfying conclusion which is a little disappointing.

Girl From The North Country, is a satisfying night at the theatre, and one not just for fans of Dylan’s music. It’s a well-crafted piece of work anchored by some of the best songs of the last century.

Girl From The North Country is at the Lyric Theatre Lowry until 24th September 2022. Tickets available here.

This House

This House 2

Opening Night verdict ⭐️⭐️⭐️⭐️

Following sell out runs at the National Theatre and in the West End, James Graham’s critically acclaimed political drama has come to visit constituents, canvassing audiences across the country as part of a new national tour.

Inspired by real and incredibly dramatic political events which took place in the houses of parliament between the turbulent years of 1974-1979, This House lifts the lid on the frenzied activities at the height of a hung parliament where every vote counts as the Government attempt at all costs to operate successfully without the safety of a working majority.

Writer James Graham places the action at the very beating heart of Westminster, the Government and oppositions whips offices. These pressured hubs and the entire backbone of the palace as deals are struck, ears are bent and promises made.

This House The born to rule attitude of the Tories is displayed superbly by opposition whips William Chubb, Matthew Pidgeon and Giles Cooper, sneering and entitled for whose Boys club loyalty and a great suit is a must.

The working class roots of the Labour party are perfectly embodied by Martin Marquez, James Gaddas, Tony Turner, David Hounslow and Natalie Grady, for whom compromise is betrayal and defeat is not an option.

The frantic scenes are dominated by boisterous alpha males, bolstering for position with the exception of Natalie Grady taking on the role of Ann Taylor, Grady delivers her role to perfection, strong and sure in what was very much at the time a man’s world.

James Graham’s superb writing highlights frequently the laugh out loud absurdity of the political world, as monumental decisions impacting the lives of the masses are made amid point scoring, archaic and ancient traditions.

This House 1 This House is a true ensemble piece with a fine display of character acting, there is game playing, childishness, flamboyance, passion and genuinely moving moments all wrapped up in an enormously funny script. Jeremy Herrin and Jonathan O’Boyle’s innovative direction ensures the piece is slick and packs the intended political punch. The inclusion of an on stage band adds further depths and pace of the piece ensuring smooth, sharp scene transitions.

Designer Rae Smith’s set combined with Paule Constable’s atmospheric lighting both highlight and mirror the drama on stage. The crumbling & fractured Government being watched by the looming face of Big Ben, forever constant and predictable until one day when like the Government the clock splutters and stops.

This House 3 This House is an inspired and engaging production, the eccentricities of Westminster acted out by the enormously talented cast is genius. Where there is plotting and scheming there is also camaraderie and genuine affection. The superbly crafted characters have exactly the same demons we see today, do they put principles before party in the battle of idealism versus reality? This beautifully scripted piece could so easily be set in 2018, scarily relevant and a sobering testament to the fact that despite the stakes being so high nothing ever really changes.

This House will make you laugh out loud and possibly cry at the state of modern day politics but undoubtedly will entertain. It’s a pacy, penetrating examination of the political world as differences and similarities are thrillingly exposed. A must-see.

On at The Lowry until Saturday 28th April tickets available here. For those who may fancy themselves as a back bencher there a limited on stage tickets available.