GIRL FROM THE NORTH COUNTRY Reopening Night Thread

There’s a slow train coming up around the bend.

Girl from the North Country resumes performances at the Belasco Theatre tomorrow night. The Bob Dylan tuner – written and directed by Conor McPherson – welcomes back most of its principal cast pre-shutdown, with Colin Bates joining as Gene Laine. This show is in a unique position, having been the last Broadway show to have officially opened before the shutdown yet being considered as part of the 2021-22 season in terms of Tony nomination eligibility.

Cast members will be performing from the show on Good Morning America this Friday.

“In what The New York Times raves is 'as close as mortals come to heaven on earth,' Girl from the North Country is set at a guesthouse where a group of wanderers cross paths. Standing at a turning point in their lives, they realize nothing is what it seems. But as they search for a future, and hide from the past, they find themselves facing unspoken truths about the present.”

Who’s travelin’ in the north country fair?

I'll be there tomorrow night! Curious to see how I feel about it since I haven't seen it before.

I'm glad to see a new, original (storied) musical come to Broadway, but I saw this in Toronto and I rank this as one of my least favourite theatre experiences. This isn't for me, but I'm glad they're back!

Loved this show. Was planning to see it a second time before the shut down. Plan to see it again now that it has re-opened. It was my favorite during that season.

Okay this is a serious question. I really want to see this show in 2022, and I was about to get tickets, but someone told me it's really long and boring. But maybe that's just someone who doesn't get the vibe? I think is sounds fascinating, and I am not someone who likes stuff like Tina and Moulin Rouge etc. But I also don't want it to be fall-asleep-in-my-seat evening. Any thoughts? Strange question, I know!

I was stunned by this show and how much I liked it. It’s basically like a John Steinbeck novel set to Bob Dylan’s music, but I loved how the stories of the entire ensemble was woven together and through each other and DAMN they are all talented. I don’t think there was a single weak link to be found.

Admittedly, the story does sag a little in parts and there sometimes really isn’t any room to digest what goes on fully, but overall it didn’t hinder my enjoyment of the show and I honestly think this show makes a strong case for the 2022 Best Musical Tony. If anything, Mare Winningham, Kimber Elayne Sprawl, and/or Jeanette Bayardelle certainly need to be part of the acting categories discourse.

I’ve had several friends text me after seeing this show asking me to summarize what exactly happened in the plot (despite loving the music).

I went last night. I saw it in 2018 also and found it incredibly beautiful. Colton Ryan and Sidney Harcourt were highlights for me 3 years ago, so I was delighted to see that Colin Bates and Austin Scott have found very different ways into the roles but still really powerful. Todd Almond singing Duquesne Whistle is still transcendent and Mare Winningham is still grounded and yet other worldly at the same time.



My favorite thing about this show is thinking about how it's a new version of the musical form. The songs are not vessels for the story but sort of seem to be commentaries on it instead? I don't know how to explain it, but it intrigues me.



The folks behind me were disappointed that there wasn't more big dance numbers 😐

Updated On: 12/4/21 at 07:28 PM

I found this show to be mostly boring and depressing, but maybe I just need to give it another shot. Todd Almond’s Duquesne Whistle was definitely thrilling, though.

Caught the final performance today. I saw it twice and loved it. I don't remember Pressing On part of that iteration. Is that correct?

teatime2 said: "Caught the final performance today. I saw it twice and loved it. I don't remember Pressing On part of that iteration. Is that correct?"

I think it’s been in the show since it officially opened. It’s also the closing track on the cast album, which was recorded days before the Broadway shutdown.