Review: GIRL FROM THE NORTH COUNTRY at Bass Concert Hall
Written by Conor McPherson with music by Bob Dylan, Broadway in Austin’s production of GIRL FROM THE NORTH COUNTRY offers both tragedy and grace through nuanced story telling and stunning music.
By: Victoria Schwarz Apr. 25, 2024
As many students of history know, 1929 was the beginning of a chaotic, and often tragic, decade for the United States. Seven months after a small stock market crash and recovery on March 25, the bottom fell out. On October 24, the market crashed by 11%, followed by another 12% drop on October 28, and another 11% on October 29. A financially devastating period of three years ensued, and by July 1932, the market had lost 89% of its value. Billions of dollars were lost, the worldwide economy was deeply affected (exacerbated by the Smoot–Hawley Tariff Act), persons who invested in stocks were brought to ruin, and stocks could often not be sold at any price to get the economy jump started again.
Unemployment soared, and many people - not able to pay their mortgages and/or rents - began to lose their homes. By 1932, millions of people were living in other people’s homes, building shack towns (called Hoovervilles), squatting in abandoned buildings, or were setting up under bridges, in culverts, in fields, or anywhere they could find shelter. Food was hard to come by as well. Limited by rations, soup kitchens and food stamps (at that time, actual books of stamps) became the sole source of sustenance for many. Within a year of sustained losses in the market, the US saw its highest historic rate of unemployment, 24.7%, in 1933. Things were quite bleak, and although 1934 saw some improvements, recovery was quite slow and unemployment remained at 21.7%.
This is the social context for Conor McPherson’s musical titled GIRL FROM THE NORTH COUNTRY, nominated for seven Tony awards, winner of Best Orchestrations (2022), and built around the songs of Bob Dylan, winner of multiple Grammy Awards and the Nobel Prize for Literature. This week, Broadway in Austin offers a nuanced and gorgeous production of GIRL FROM THE NORTH COUNTRY at The University of Texas at Austin’s Bass Concert Hall.
Set in a boarding house in Duluth, Minnesota during the winter (late November) of 1934, this show, both tragedy and grace, tells the story of Nick Laine, a man who inherited the boarding house from his grandfather, but through previous mismanagement and the exacerbating forces of the depression, is about to lose the property. It’s a loose telling of NIck’s story however, for it also follows several other interconnected stories: some of Nick’s family, some of the people boarding at the house, and even a local businessman and doctor from the town.
In set design and staging, we see these stories packed together tightly in the living spaces of the boarding house, much like the families of the Great Depression would have been cramped into their own homes. The audience begins to understand that there is little privacy, an ever-present need for money and stability, and the near-impossibility of staying out of each other’s way physically, temperamentally, and emotionally. They eat elbow-to-elbow, they dance within inches of one another, and inevitably collide disastrously with one another, ultimately surrounding one another with death, violence, desperation, loneliness, and helplessness. Yet, as the best tragedies offer, there is beauty in the midst: hope glimpsed in the meeting of Marianne Laine and Joe Scott, grace offered from Mr. Perry to Gene Laine, tattered love salvaged by Nick for Elizabeth Laine, and strength claimed by Mrs. Neilsen. All of which is surrounded and amplified by Simon Hale and Conor McPherson’s stunning arrangements and orchestration of Dylan’s songs.
Opening with a gorgeous solo of Dylan’s Sign on the Window, the audience is immediately immersed in the signature melodies and clever, perceptive lyricism of Dylan. The opening lyrics set the stage just as neatly as the set itself:
Sign on the window says "lonely,"
Sign on the door said "no company allowed,"
Sign on the street says "why, don't own me,"
Sign on the porch says "three's a crowd"
This is followed by the character of Dr. Walker (Alan Ariano) who, through narration, introduces Nick Laine (John Schiappa), his wife Elizabeth Laine (Kelly McCormick, understudy), and their son Gene Laine (Ben Biggers). Dr. Walker’s closing lines serve to point to the stark reality of the story we’re about to see: “...right now, all you need to know is Nick’s made some stew for his family, for the guests. Keep everybody alive another day.” From there, the stories of each character begin to intertwine in telling the story of this particular boarding house and the people there.
As one expects, the cast of this touring Broadway production is exceptional. John Schiappa expertly portrays the lead role, Nick Laine, nimbly moving between the various character’s persona required in responding to complex, overlaid stressors and people in his midst. We see the father that is concerned for his children, the owner that genuinely cares for the boarders more than their money, the husband who struggles, the lover who can’t quite commit, and various other aspects with clarity, and are compelled to both care about and be uncomfortable with him.
Kelly McCormick, understudy for the role of Elizabeth Laine, is a stand-out performance. Navigating a role that has aspects of dementia is challenging, and McCormick not only rises to meet the true nature of Elizabeth, but captures our attention in every detail. Her erratic movement around the stage, the aimless activities of moving chairs and waving to people (maybe real, maybe not) outside the boarding house, her interference with other characters, and the precise and astonishingly effective delivery of commentary that speaks truths no one else in the story can admit, are riveting. Anyone who has ever been on the journey of a loved one experiencing dementia recognizes McCormick’s understanding of the essentiality of these specific behaviors and how they not only transform an individual’s personality, but often impact those around them with blunt force. Outstanding work, Ms. McCormick.
Another remarkable performance is given by Sharaé Moultrie (Marianne Laine), offering a believable headstrong and passionate teenager who steps into her own agency when confronted by pregnancy, a family self-destructing, and the possibility of an arranged marriage. In addition to her capable acting skill, her singing is glorious: flexible, warm, and lyrical in every sense. We are enchanted when she sings Dylan’s Tight Connection to My Heart (Has Anyone Seen My Love), especially the lines deeply connected to Marianne’s journey, “I'll go along with the charade until I can think my way out.”
Among a cast of skilled actors and musicians, there are several other notable performances. Matt Manuel is an exceptional Joe Scott, a boxer and recent convict looking for a new life (a powerful tenor, who sings Slow Train, including the lyric “Boy, without a doubt, have to quit your mess and straighten out. You could die down here, be just another accident statistic.”). Jeremy Webb fully embraces his role as Reverend Marlowe, presenting a dependably quirky and fascinating character; one that is well-nuanced and brings both outright and subdued chaos to the plot. Jay Russell, despite his shorter length of appearances on stage, offers an almost-lovable, well-meaning - albeit slightly cringy - Mr. Perry with authenticity and great skill.
The production elements of GIRL FROM THE NORTH COUNTRY are exquisite. With period furniture moved by the players, combined with screens that drop in and out of the playing area, the set not only displays the living areas and porch of the boarding house, but also allows the audience to see other aspects outside the home. Mark Henderson’s lighting design is refined, producing a range of effects from a 1930s-lit dining room to a dance-hall environment and more. Some beautiful moments (of many) include the first display of disco ball lights, an impactful contrast between fully front-lit singers and a dark, subtly backlit ensemble, and later, an intense bright column of light on the character of Elias Burke (Kyle Sherman, understudy). Lucy Hind’s movement design is executed well, and adds a layer of physical artistry to the performance, especially in the choreography for the songs.
Simon Baker’s sound design is effective and non-intrusive, adding meaningful and contextual sonic layers, and the sound team (Alec Harris, Alex Spigner, Phillip Lojo, and Simon Matthews) provides exceptional mixing for the ensemble, resulting in clearly heard dialogue and a well-balanced ensemble mix for both the singers and the band. The band, a mix of professional stage musicians and cast members, including Timothy Splain, Edward Hamilton, Camille Vogley-Howes, Adam Overacker, David Benoit, Jill Van Velzer, and Dean Sharenow, perform with precision and exceptional musicality, both honoring the original integrity of Bob Dylan’s music as well as presenting Simon Hale's award-winning orchestrations with refined skill.
The music of Bob Dylan, although at times seemingly disconnected from the action, is - with analysis - often closely aligned with aspects of each character's journey and/or the surrounding context of the story. I encourage viewers to familiarize themselves with the songs used in the production so the twining of Dylan’s lyrics and McPherson’s drama may be perceived while viewing; but, if you don’t have time for review, the songs offer an opportunity for all of us - the performers and the audience - to be lifted above the deep, unfolding stories for a moment of respite.
Broadway in Austin’s production of GIRL FROM A NORTH COUNTRY is, despite the story’s tragic elements, an impressive and beautiful musical. It is also, perhaps, a cautionary tale of our own time, with housing prices necessitating families and friends to live together, the ever-growing reality of multiple people in the same home pursuing side hustles for extra income, and persistent inflation pushing the cost of food and other necessities beyond many incomes. We may hear this musical as a reminder, as we navigate the pressures of our own lives, to look for glimpses of hope, grace, love and life, in the midst, and to take time to immerse ourselves in the beauty around us when we can.
GIRL FROM A NORTH COUNTRY
Written by Conor McPherson, Music & Lyrics by Bob Dylan
Bass Concert Hall, 2350 Robert Dedman Austin,
April 23-25 7:30 pm; April 26 8:00 pm; April 27 2:00 & 8:00 pm; April 28 1:00 & 6:30 pm
Running Time: 2 hours 30 minutes with one intermission
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