“You Ain’t Going Nowhere” a review on Girl From the North Country by Lilly Grommes
“You Ain’t Going Nowhere” a review on Girl From the North Country
Girl from the North Country opened in Minneapolis amidst the fresh loss from the Minnesota Twins. The October air and freshly crushed spirits would set the scene for the night. The show played for a packed house but lacked the firepower to carry itself past its home of Minnesota.
The jukebox musical centers around Duluth, MN amid the Great Depression. Stories interweave through the guest house of Nick Laine, who is struggling to maintain a living with his two children and wife, who is battling early-onset dementia. Conor McPherson's musical uses the discography of Bob Dylan, born in Duluth himself. The Irish playwright saw his show take root in a run in London at the Old Vic then West End. After a series of shutdowns and other productions, the show finally got its tour three years after its opening on Broadway.
Given the musical's setting, it's only fitting that the show launched in Minneapolis. The colloquialisms present gave the audience a laugh, but in my opinion the response could become lost on non-Minnesotans. The production elements individually were beautiful. For example, the set consisted of minimal furniture and utilized translucent drops, complementing the detached, cold lighting. The singing and production numbers were stunning, especially during the show-stopping number "Duquesne Whistle" featuring Aidan Wharton, who played Elias Burke.
In addition, the show utilized an orchestra on stage and various actors that supplemented their playing.
Todd Almond and the Cast of Girl From The North Country on Broadway - photo by Matthew Murphy
Nonetheless, the biggest issue this production faced was that the show felt weaker as a whole. The musical can be challenging to follow since it does not take on the typical storytelling structure. The songs are not used as a continuation of the plot but rather as a conveyance of the emotion of the interaction, which makes the acting moments feel flat. The characters' storylines could only develop partially, which further muddied the production. Since the scenes did not progress with the music, it felt more like a play with music. After consulting Wikipedia and other sources during intermission to grasp the story, I could appreciate McPherson's intentions to an extent. However, failure to create a coherent piece that followed my sense of storytelling made the 2-hour and 30-minute run-time drag near the end.
The production has stand-out elements, but given the extended run-time and lack of clarity, it's safe to skip this show in the lineup. For fans of Bob Dylan, the show omits popular songs like "Blowin' in the Wind" and “The Times They Are A-Changin." If that is not a game-changer, the show still has its merits and will run in Minneapolis at the Orpheum Theater until October 14th.
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