And now it’s back at the place where the magic started, with McPherson once again directing a 20-strong ensemble of actors and musicians to bring us the story of a run-down boarding house in Dylan’s own hometown of Duluth, Minnesota, in the winter of 1934. Nick Laine (Colin Connor) runs the joint, which is on the brink of being repossessed, and a ragtag group of guests come and go, occasionally paying their bills.
‘Girl from the North Country’ is set in a run-down boarding house in Dylan’s hometown of Duluth, Minnesota (Photo: Manuel Harlan)What struck me most forcefully about this fresh iteration of the show was its tendency towards dark humour rather than pathos and gravitas, which is a considerably less effective tactic. The sense of time and place is not quite so immaculately evoked and the monumental finale, a heartbreaking rendition of “Forever Young” by Elizabeth, has been supplanted by the group number “Pressing On”.
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Sometimes this felicitous connection is covert, whereas at other junctures it is gloriously explicit. When Gene’s long-suffering girlfriend Kate (Lydia White) finally decides that enough is enough, the pair launch into a plangent take on “I Want You”, the two of them standing some distance apart and each in their own solitary spotlight. One of the show’s earliest numbers, “TIght Connection to My Heart (Has Anybody Seen My Love)”, serves as the perfect introduction to Marianne’s situation.
To 23 August, Old Vic Theatre, London (0344 871 7628, oldvictheatre.com)
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