Girl From The North Country - Public Theater? — Page 8

SomethingPeculiar said: "I wonder if the combination of Conor McPherson, Bob Dylan, and actorsCiaran 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."

I also wonder if they would replace Bogardus with a bigger name (not that they should, even though I thought he was the weakest link) since the role doesn't sing.

little_sally said: "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 agree with you, and others above about the book - it seems some things are left purposefully vague and that can get frustrating - but the show as a whole was quite moving. The cast is indeed amazing, and Harcourt was a standout for me as well. He played Burr the second time I saw Hamilton and I was blown away both by his performance and his dramatic take on that role. He is equally impressive here.

I'll start by saying that I am not a big Bob Dylan fan. Though I know several of his tunes, I have never been enamored of his voice, but I *totally* enjoyed hearing his songs performed by the cast of this musical. To a person, every cast member lifted their voices and truly brought out the transcendent beauty in these songs. I was very taken by the music as they brought it to life, enjoyed the songs as they fit within the context of the play, and the backing chorus in several numbers was amazing. I was very moved.

This is not your typical jukebox musical (which I usually avoid) at all. The story is more a series of vignettes about people passing through this Depression Era boarding house. While the story is linear, you just get glimpses of these characters' troubles, suggestions of their backstory, and much is left to the audience's interpretation as to their motivations, but nonetheless, they are intriguing characters and there are some very powerful scenes and strong performances.

The songs do not necessarily further the plot, they are more a reflection on the moods of the characters and offer a general reflection on the scene that has just taken place. Really loved Kimber Sprawl as Marianne. Her rendition of Tight Connection to my Heart brought tears to my eyes. Another stand out for me was Sidney James Harcourt who I only knew from Hamilton. That man has an amazing voice, and he brought the acting chops to his role of prize fight Joe Scott. His work on Slow Train Coming was fantastic. What a powerful bluesy voice! Also impressed with Colton Ryan's portrayal of a fairly unsympathetic character who manages to pull your heartstrings, along with Cailtyn Houlihan, on I Want You. Todd Almond also did a great job as the developmentally challenged son of two of the boarders. Really, every cast member did a splendid job, as did the ensemble players.

The set was appropriately appointed, with a worn tile floor and antiquey looking furniture and appliances, and while I read that some folks disliked the dim lighting, I thought the lighting designer did a beautiful job. It felt looking into the gaslit parlor of an old house on a cold winter night out in the sticks, and it fit the mood of the play. The costumes were well thought out and the makeup expertly done - still not sure how Colton Ryan went down in a fight scene and came back up with cut and bloodied face. The production values were all around top notch.

Our one complaint was with the script. Act One set the scene and introduced a very intriguing group of characters and set up many of their dilemmas, but we felt that Act Two meandered a bit, and some plot developments seemed to come a bit out of nowhere. The ending however, was satisfying, and though we left wanting to know even more about these people, we were glad to have enjoyed their company for the duration of the show. I hope more people catch it if it does make a transfer to Broadway in the spring.

iluvtheatertrash said: "So, for those of you who feel like you're just not getting it, or missing something...? You are. You're missing what that company brought to it."

This is affirming to hear. I haven't stopped thinking about how beyond bored I was during this show, which surprised me since many people whose theatre opinions I respect loved it in London. I guess this is a case of transfer gone bad.

Saw this on Saturday, 10/13, and was blown away by the way it made me feel at the end. I went in knowing that this was a play with music thrown in for setting the mood. I didn't really know any Bob Dylan songs very well, but I enjoyed the songs and music and staging and lighting. After the first act, I wasn't sure what to think. Was I supposed to care about everyone or a few people in particular? Was there a plot going on, or was it just about various people post-Depression, and how they were dealing with their lives? The person next to me also agreed, so we weren't sure how it was going to evolve, if at all. I thought that maybe this was just a slice of life kind of show, and it existed just to show us a bit of life and then end.

So that is how I interpreted it. I loved the intimate staging (I was in the second row) and the music and the voices. and I was very sad at the end. It did feel like a gut punch of emotions hit me, and there seemed to be quite a few people around me sobbing. I stayed with one other couple afterward to stage-door, and it was nice to meet most of the performers.

Perhaps it depends on what frame of mind you are in when you see this, as to whether it has an emotional impact. Since I wasn't fortunate enough to see this in London, I can't compare the performances, but I have been listening to the the original London cast, and am enjoying the voices on it. Anyhow, for the price and the small venue, I thought it was a great off-Broadway play with music. If it transfers and brings over some of the key voices from the original cast, I would consider seeing it again.

MadsonMelo said: "This is going to Walter Kerr right?

I would bet it’s Winning the Tony then"

beetlejuice, beetlejuice, beetlejuice

I mistakenly bought tickets to another show the same night and I’ve already seen this so will sell my pair of tickets, row K, for this. Dec 2 evening. $45/ each. PM me if interested.

Updated On: 11/18/18 at 01:47 AM

FYI, saw that several tickets went on sale for this weekend and December 7th via Public's website. Looks like 12/1 evening show still has some tickets. I snagged one for next Friday!

LightsOut90 said: "they would be insane to transfer this, let alone without some major recasting.

this show was such a bewildering mess, the arrangements are fantastic but the acting was all over the place, Mare is fantastic and please put Todd Almond in more stuff, but manthe actors playing Nick and the son are HORRIBLY MISCAST and their performances are ridiculous, the sub plots make very little sense (why is she hiding dollars in the box, i thought the father was implying he was going to kill himself to the son thats why they gave him the money, all the stuff with the bible salesman, the girl and the son?)and my god **** off with the narration

"

Honestly the entire draw of the show must be the Dylan songs. Other than that and a couple of standout performances...I can’t appreciate the work as much as other audiences have. Hard DITTO on the actor playing the son (don’t have my playbill at the moment). He was literally just rushing and reciting the lines, and made the musical moments look like a chore. His performance was extremely distracting to me.