Girl From The North Country - Public Theater?- Page 7

[BroadwayConcierge]

Posted: 9/29/18 at 4:43pm

I hate to say it, but I was not a fan of this show. I know everybody's saying it's not a proper musical (which, indeed, it is not), but even armed with this knowledge going into it, I left feeling deeply unsatisfied.

The music neither furthers the plot nor deepens characterization. It is all there to set tone and mood and make you feel a certain way. I think if you're structuring a show like that, then the text that does further plot and deepen characterization needs to be clear and riveting. Instead, I found the show to be really confusing and kind of slow and dreary in parts. And then they tie up most (but not all) of the loose ends with a narrator monologue in the final five minutes? It just felt lazy to me.

The cast is working hard and sounds lovely, but I never felt compelled enough to care for the characters to the point where I really latched onto any performance.   

It seemed like I wasn't the only one who at my performance who felt the same way. The audience I was with took their sweet time to give a standing O until someone in the front got up. 

[Bwayfan292]

Posted: 9/29/18 at 4:45pm

With all this negative word of mouth, do we think a transfer is even still planned at this point?

[Solipsist234]

Posted: 9/29/18 at 4:50pm

Bwayfan292 said: "Solipsist234 said: "GeorgeandDot said: "Their opinion is valid, but don't take it as definitive because the word of mouth on here contrasts what I see elsewhere and doesn't represent the majority. I certainly wouldn't decide whether or not to see this show based upon the reviews on here."

Oh, my thoughts exactly, GeorgeandDot!!! I don't live in New York, but I would never take the word of a few people on a message board to form my opinion on a show I might see!

Thank you for clearing that up! :)"

In total agreement! I feel like people are quick to say this needs work, and list pointless examples just to say they hate something. And who knows if they even went to the show in the first place. The only reviewer I take seriously on here is Whizzer."

Something that I've noticed is a lot of posters on these boards believe a show would be better if it got straight to the point (i.e. cutting the intermission and making a show 90 minutes.) It honestly grinds my gears a little bit, as musicals nowadays are always written in a two-act structure unless the creators feel it needs to be one act and intermissionless. Just because a show feels interminably long to one audience member does not mean it needs to be cut down and truncated to make it work! We're not making junior versions out of professional Broadway musicals here, people!!!

Updated On: 9/29/18 at 04:50 PM

[JBroadway]

Posted: 9/29/18 at 5:49pm

inception said: "I wish there were more positive reactions to this show on here"

GeorgeandDot said: "The negative word of mouth on here is shocking to me "

Bwayfan292 said: "With all this negative word of mouth, do we think a transfer is even still planned at this point?"

 

I'm sorry but what thread are you guys reading? I just did a quick scan through all the posts since 1st preview. I count 9 positive reports, 3 negative reports, and 1 fairly mixed report (from Haterobics). 

Updated On: 9/29/18 at 05:49 PM

[bwayphreak234]

Posted: 9/29/18 at 5:55pm

JBroadway said: "I'm sorry but what thread are you guys reading? I just did a quick scan through all the posts since 1st preview. I count 9 positive reports, 3 negative reports, and 1 fairly mixed report (from Haterobics)."

I was just wondering the same thing...

 

[LucyEth]

Posted: 9/29/18 at 11:40pm

Saw this tonight and have very mixed feelings.  On the one hand, it definitely takes a while to get going.  The songs don't really have anything to do with what's happening onstage beyond reflecting the moods of the characters.  And there is way too much exposition in Act 1 about people you don't really care about...and never do.  On the other hand, this is the most crazily talented ensemble I've had the privilege to watch since "Come From Away."  And there are moments in Act 2 (infinitely better than the first) that are among the most thrilling I've ever seen on a musical theater stage.  (Who is Todd Almond, and where has been all my life?!)  All that said, it doesn't really work.  It's well directed and designed, but the whole doesn't equal the sum of its parts.  Should you see it?  Yes, for the talent and the arrangements, which are off the charts.  (This will definitely be an album that gets a lot of play in my home once it comes out.)  But don't expect to be moved or involved in the storytelling.

Updated On: 9/30/18 at 11:40 PM

[inception]

Posted: 9/30/18 at 11:49am

I didn't say everything was negative, but it comments like these that make me look at seeing something else when I just have 4 days.

LucyEth said: "Saw this tonight and have very mixed feelings.

SNIP

 But don't expect to be moved or involved in the storytelling."

 

[Elegance101]

Posted: 9/30/18 at 1:24pm

The only way they would think of not transferring this is if it gets positively TRASHED in the reviews (which it most likely won’t). So I don’t think a couple of mixed-to-negative thoughts on this message board is any indication of them stopping the already-happening transfer.

[eastcoasttheatre]

Posted: 10/1/18 at 3:32am

when do the reviews come out?

[jbird5]

Posted: 10/1/18 at 8:49am

Tonight, once it officially opens.

[JudyDenmark]

Posted: 10/1/18 at 3:48pm

I saw this on Thursday and have such mixed feelings! I have been listening to the London cast recording for a month and totally loving it... but I think it backfired by creating some ideas in my head that of course never panned out*, and it created a letdown for me with the actual show. I don't know... I think I really enjoyed it on paper, but in reality I don't know that I'm smart enough to really get what they were doing. Some of the plot points seemed to disappear altogether, unless I just totally missed the explanations. Loved the music, though - Dylan is such an incomparable poet, and his music lended itself so perfectly to this style and mood. I thought the performances were a mixed bag... some blew me away (I thought Mare WInningham was flawless) and others left me scratching my head. 

I'm really looking forward to reading the reviews tonight to see if they help shed some light on what I missed - it's possible that a critic's insight may make me see the whole thing differently. ...Because I there's a part of me that really, really wants to love this. 

 * Click Here To Toggle Spoiler Content

Forever Young is easily my favorite Dylan song. I had vaguely read some things about the plot before going in just to have a framework of what this was all about, but not enough to spoil it. When I knew that the main daughter character was pregnant, and that this was happening at a time of poverty... I had totally convinced myself that she would die in childbirth and that the Mare Winningham character was singing "Forever Young" to the baby at the end. Which had me emotional thinking about such a beautiful moment. Clearly that was just my overactive imagination! But I think I shot myself in the foot by listening to the recording so much - it made me expect more to happen, and that's really not the kind of show this is. 

Also - maybe someone can clear this up for me... Marianne says to the boxer Joe Scott at some point in Act 1 that she wants to tell him the "real story" of her pregnancy. Do we ever find out what happened? I know she had a pretty vague monologue later in the show about feeling the soul of a guy down by the docks... but did I totally miss what actually happened, who this guy was, how he was connected, etc? And what about Caitlin Houlihan's character? Lovely duet, but what did she have to do with anything?? And did Marc Kudisch kill his son? I can't tell if I was just not paying close enough attention or if this stuff was all intentionally left vague. 

 

[haterobics]

Posted: 10/1/18 at 3:52pm

JBroadway said: "I'm sorry but what thread are you guys reading? I just did a quick scan through all the posts since 1st preview. I count 9 positive reports, 3 negative reports, and 1 fairly mixed report (from Haterobics)."

And this is out of thousands of people who saw the show and didn't write about it at all... so, a statistically irrelevant sample.

[CT2NYC]

Posted: 10/1/18 at 5:39pm

JudyDenmark said: "I saw this on Thursday and have such mixed feelings! I have been listening to the London cast recording for a month and totally loving it... but I think it backfired by creatingsome ideas in my head that of course never panned out*, and it created a letdown for me withthe actual show. I don't know... I think I really enjoyed it on paper, but in reality I don't know that I'm smart enough to really get what they were doing. Some of the plot points seemed to disappear altogether, unless I just totally missed the explanations. Loved the music, though - Dylan is such an incomparable poet, and hismusic lended itself so perfectly to this style and mood. I thought the performances were a mixed bag... some blew me away (I thought Mare WInningham was flawless) and others left me scratching my head.

I'm really looking forward to reading the reviews tonight to see if they help shed some light on what I missed - it's possible that a critic's insight may make me see the whole thing differently. ...Because I there's a part of me that really, really wants to love this.

* Click Here To Toggle Spoiler Content

Forever Young is easily my favorite Dylan song. I had vaguely read some things about the plot before going in just to have a framework of what this was all about, but not enough to spoil it. When I knew that the main daughter character was pregnant, and that this was happening at a time of poverty... I had totally convinced myself that she would die in childbirth and that the Mare Winningham character was singing "Forever Young" to the baby at the end. Which had me emotional thinking about such a beautiful moment.Clearly that was just my overactive imagination! But I think I shot myself in the foot by listening to the recording so much - it made me expect more to happen, and that's really not the kind of show this is.

Also - maybe someone can clear this up for me... Marianne says to the boxer JoeScott at some point in Act 1 that she wants to tell him the "real story" of her pregnancy. Do we ever find out what happened? I know she had a pretty vague monologue later in the show about feeling the soul of a guy down by the docks... but did I totally miss what actually happened, who this guy was, how he was connected, etc? And what about Caitlin Houlihan's character? Lovelyduet, but what did she have to do with anything?? And did Marc Kudisch kill his son?I can't tell if I was just not paying close enough attention or if this stuff was all intentionally left vague.

"

I only listened to the cast recording briefly before it was removed from Spotify, but, from what I heard, Shirley Henderson's and Sheila Atim's voices are far more distinctive and emotionally resonant than Mare Winningham's and Kimber Sprawl's. On the album, their songs are gut punches, and I was hoping for the same impact in this production, but I didn't feel it nearly as much. Do you agree?

[theaterdarling]

Posted: 10/1/18 at 6:40pm

Put me in the "positive reaction" column, if we must keep count. Saw it at yesterday's matinee and really loved it. I am a big fan of Conor McPherson and his being in control of the Dylan catalogue (also a big fan of) made this a must see for me.

Was the character development and narrative arc a little tropey, yep. A little "Our Town-y"? Check. Steinbeck lite? Check. Yet, it all worked for me. I thought the book stood on its own and whatever narrative short cuts taken worked when combined with the non-cliché and not on- the-nose music quite movingly sung. Many who have not liked the show said the songs did not advance character development but, for me, they did, sometimes literally, sometimes metaphorically. My only complaint was for some of the Dylan songs that were more unfamiliar to me, I could not understand the words - don't know if sound or diction problem, but being in the front row, it did not even help to read their lips.

Thanks to Today Tix one day pre-sale -I sat in the front row--which is rare for me and obviously made an intimate show even more intimate and engrossing.  A missed a bit of the tableau effect when everyone was on stage, but I was very happy to be so close to so many outstanding. performances. If there was any weak link, for me, it was Stephen Bogardus. Can't put my finger on it. Too one the nose? (I would have killed to see Ciaran Hinds do this part--he was incredible in McPherson's "Night Alive" a few years ago - a performance and a show that still haunts me). 

I came in by train from Boston just to see the show and went back right after. When I do a day trip  my reaction to a show sometimes, consciously or unconsciously (and most unfairly) factors whether the extensive travel time was worth it. Definitely worth it for this one.

I can't answer the question as to whether it was a musical or a play with music. I just know that  whatever way the music and story fused together, perhaps in a more evocative and less traditional way, it worked for me. I admired the risky narrative breaks McPherson took with the use of certain songs.

The audience reaction was interesting. Full house - as you would have expected based on two extensions. I think about half the people there seemed surprised at what they just saw--as if they did not know anything about the show other than it included Bob Dylan music and I sensed some disappointment. Not saying this was not a legit reaction depending on your expectation, just not mine. The other half of the audience was quite into it and seemed quite pleased with what they just saw.

I don't see how the spell of the show creates transfers to a larger Broadway house (even a small Broadway house) if such a transfer occurs,  but I will always feel lucky to have experiences it at the Public.

Will be interesting to see reviews - as you all might recall Brantley had a very mixed review for the London production--including calling the the dialogue "thudding" and noting the show only soared when there was singing.  Wonder if any changes to the book were made in the transfer? Would be interested to hear from people who had the good fortune to see both productions and can recall differences, if any.

Life-changing, gut-punching theater? No, but it was an extremely well-crafted, beautifully staged and sung show with Dylan's music used affectingly, movingly and inventively. 

[JudyDenmark]

Posted: 10/1/18 at 8:56pm

CT2NYC said: "I only listened to the cast recording brieflybefore it was removed from Spotify, but, from what I heard, Shirley Henderson's and Sheila Atim's voices are far more distinctive and emotionally resonant than Mare Winningham's and Kimber Sprawl's. On the album, their songs are gut punches, and I was hoping for the same impact in this production, but I didn't feel it nearly as much. Do you agree?"

I sort of agree, much as I wish I didn’t agree. Particularly with Tight Connection. Watching Sheila Atim’s Olivier performance gives me chills every time, and I kept waiting for that to happen in this production and it just didn’t. (I was sitting in 2nd row center, so it wasn’t for lack of connection to the cast.) The vocals were lovely, but I didn’t feel like I got much of that gut punch, unfortunately. I feel less disappointed about Elizabeth, though. I strongly feel the emotion and energy coming through on the London recording, but I think I prefer Winningham’s singing voice.

FWIW, I meant to say this in my original comment, but the guy sitting on my left was clearly miserable and left at intermission, and the guy on my right was clearly very moved and leapt to his feet at the end. Definitely a polarizing show!

Edit: Disclaimer as these rave reviews are starting to come in... I’m disappointed that I was insanely tired at the show (coming off of a literal all-nighter and running on cold brew and Red Bull) and can’t help but think that hurt my comprehension levels. Sounds like it’ll be coming to Broadway, so I look forward to seeing it again with a clearer head and maybe some pre-read cliff’s notes on the plot, haha. Because the music alone makes it worth the repeat visit. If nothing else, this is a cast recording I’ll be revisiting forever. 

Updated On: 10/1/18 at 08:56 PM

[NYCblurb]

Posted: 10/3/18 at 11:37pm

Should stay a cast album. The songs are the thing. Dylan, sublime. What in the world though with all the standing around boring the audience to tears with the routine? Please don't transfer to broadway because it will get clobbered.

[Tom-497]

Posted: 10/4/18 at 3:15am

I saw this evening's performance, and my opinions are quite similar to theaterdarling's -- except I did think there were one or two "gut-punching" moments.

Also, it struck me that McPherson was sometimes dramatizing (and musicalizing) passages from the monologues in his Port Authority, most directly in the scene leading up to "I Want You." If I remember that earlier play correctly, a character suggests there might be just two souls: the soul of the fighter and the soul of the drifter -- and that idea seemed to repeatedly show up in Girl from the North Country, with a twist here being that the same character may have both and be guided by the wrong one at the wrong time. 

 

 

SPOILER RESPONSE TO QUESTION ABOUT MARIANNE

 

 

An earlier poster asked: Marianne says to the boxer JoeScott at some point in Act 1 that she wants to tell him the "real story" of her pregnancy. Do we ever find out what happened? 

As far as I could tell, the audience doesn't find out for sure what happened re: the birth, just like we don't find out for sure what happened re: one of the deaths. However, in my opinion, it's strongly suggested that Marianne was a virgin who conceived immaculately (though rather creepily).

In that regard, I would point to the following:

- McPherson himself called this play (as well as others of his) a "Nativity play."

- Mari(anne) ends up with a guy named Joseph, who isn't her baby's actual father.

- It seemed to me that Marianne starts to tell her father that she hasn't had sex -- but he cuts her off like, Don't give me that bull**** again. 

- Nonetheless, in a brief moment, the Doctor (who regularly examines Marianne) starts to tell her father that she isn't even pregnant, and I took this to suggest that the Doctor believes she's still a virgin.

- Early in the play, the phrase "no room at the inn" is used; then, almost the last verbal image in the play is Marianne, Joseph, and the baby in front of the shut-down boarding house (as I understood it).

- Also late in the play, in Duquesne Whistle, we get the line "Must be the Mother of our Lord." 

(There are actually plenty of other points, too, I think, that help create a "Second Coming" atmosphere throughout the play.)

[little_sally]

Posted: 10/4/18 at 2:48pm

I thought this was very very good but certainly not the second coming. The cast is AMAZING (Sydney James Harcourt has one of the most incredible voices I've heard, and Mare Winningham was heartbreaking), and I was very moved by the whole thing. I do think there's some deficiencies with the book (yes, some of the plot points and character arcs aren't given closure) and I wish McPherson had let someone else direct it. Regardless, it's one of the stronger musicals in the last few years.

[ErmengardeStopSniveling]

Posted: 10/4/18 at 8:25pm

Well, it’s been a few years, but Michael Riedel has returned to his favorite pastime from 2012: trash-talking the Public Theater!

https://nypost.com/2018/10/04/bob-dylans-music-may-take-over-the-boss-broadway-theater/

[BroadwayConcierge]

Posted: 10/4/18 at 10:03pm

I really can't see this one doing well in a transfer to Broadway. At least the other unique, "weird" shows that have done well on Broadway (like The Band's Visit and Come from Away) have clear messages and themes. This show is just an amalgam of...things. I don't see commercial audiences walking out of a performance and raving about it to their friends.

[Theatre_Mom]

Posted: 10/5/18 at 1:19am

I have a thread on this but thought I would post this here just in case someone didn't see that one.

I have 3 tickets to sell for this Sunday evening Oct 7th at 7:30.   Row P.

I purchased through the TodayTix Pre - sale.   I can take payment via Paypal and put your name on the pickup order.  

I'm just asking for what I paid for the tickets with the fees.  $102.50 a ticket.

I can email you proof of the order and proof that I have put your name on the ticket order.

 I can also meet at the theater before the show and will take cash.  Anyone interested can be there when I collect the tickets from the TodayTix person so you know the tickets are legit.

I hope someone can use these!

thanks so much!

[QueenAlice]

Posted: 10/5/18 at 7:38am

BroadwayConcierge said: "I really can't see this one doing well in a transfer to Broadway. At least the otherunique, "weird"shows that have done well on Broadway (likeThe Band's VisitandCome from Away) have clear messages and themes. This show is just an amalgam of...things. I don't see commercial audiences walking out of a performance and raving about it to their friends."

Well it’s probably worth putting in perspective that the show opened in England at the Young Vic and was a complete sellout. It moved to the West End for a limited engagement and was again a complete sellout. It was nominated for a slew of Olivier awards and even won a few major awards over Hamilton. It sold out ithr initial engagement at the Public and was extended and again sold out.

 

I don’t see why people including Michael Riedel think this is such a tough sell. It got fabulous reviews and it’s good theater. Surely it could do as well as FUN HOME or THE BANDS VISIT.

i mean if a 20 person play like the FEERYMAN  which is bleak as it comes can sell well on Broadway, which apparently it is despite having no stars- why not THE GIRL FROM THE NORTH COUNTRY?

 

Updated On: 10/5/18 at 07:38 AM

[Anastasia_Beaverhausen]

Posted: 10/5/18 at 9:30am

http://bway.ly/4drk6p/#https://nypost.com/2018/10/04/bob-dylans-music-may-take-over-the-boss-broadway-theater/

Looks like the plan is to transfer to the Kerr.

Updated On: 10/5/18 at 09:30 AM

[little_sally]

Posted: 10/5/18 at 9:55am

BroadwayConcierge said: "I really can't see this one doing well in a transfer to Broadway. At least the otherunique, "weird"shows that have done well on Broadway (likeThe Band's VisitandCome from Away) have clear messages and themes. This show is just an amalgam of...things. I don't see commercial audiences walking out of a performance and raving about it to their friends."

With a very successful run at the Public and a rave from the Times, plus the music of Bob Dylan, I can't imagine it wouldn't sell well. (And I can see it getting a lot of Tony noms, even a few wins.) If The Band's Visit can sell well, I don't see how this wouldn't.

[SomethingPeculiar]

Posted: 10/5/18 at 10:04am

I wonder if the combination of Conor McPherson, Bob Dylan, and actors Ciaran Hinds and Shirley Henderson meant more in London? Hinds and Henderson probably mean more in the West End than any of the Broadway talents in the US production, and McPherson is very likely a bigger draw in the UK.