The tragedy of The Girl from the North Country is that it should work. The book is by Conor McPherson, who is,” quite possibly the finest playwright of his generation,” according to Ben Brantley (The New York Times). The music is by Bob Dylan, the definitive voice of a generation. But this is no perfect union.
Dylan reportedly approached McPherson about doing a musical, giving the enigmatic writer the creative freedom to use his songbook at will. McPherson had not done a musical before but threw caution to the wind.
Out of respect for Dylan’s genius, McPherson deviated away from the formulaic jukebox musical construct. Instead, he conceived of a Depression-era saga that takes place in a guesthouse located in Duluth, Minnesota (Dylan’s birthplace). A bevy of nomads collide in this central black hole that feels more like an asylum than a hostel.
Dismal and dark design elements get lost in the abyss of the Durham Performing Arts Center (DPAC). DPAC’s house is twice the size of the Belasco on Broadway, where the show first opened pre-COVID and ended its limited run post-COVID. Within the confines of the Belasco, the juxtaposition between light and dark may have worked. At the Durham Performing Arts Center, it just doesn’t. Mood lighting feels dark and detached, while some of the projections are blinding. Still, the lighting isn’t the most egregious disconnect. That honor goes to McPherson and Dylan.
Artistic autonomy does not a collaboration make, which is perhaps why this apparent random marriage of convenience feels so discordant. It is neither a play with music nor does the music elevate and advance the story in any meaningful way. Instead, the music feels more like an interruption of McPherson’s play, which will disappoint Dylan fans and leave serious theatergoers indifferent.
The Girl from the North Country runs through Sunday at the Durham Performing Arts Center. For ticket and lottery information visit https://www.dpacnc.com/.
