(Ben Brantley’s review appeared in The New York Times, 3/6; photo: Sara Krulwich/The New York Times; via Pam Green.)
This ravishing and singular musical, written and directed by Conor McPherson, hears America singing — Dylan — during the Great Depression.
A nation is broken. Life savings have vanished overnight. Home as a place you thought you would live forever no longer exists. People don’t so much connect as collide, even members of the same family. And it seems like winter is never going to end.
That’s the view from Duluth, Minn., 1934, as conjured in the profoundly beautiful “Girl From the North Country,” a work by the Irish dramatist Conor McPherson built around vintage songs by Bob Dylan. You’re probably thinking that such a harsh vision of an American yesterday looks uncomfortably close to tomorrow. Who would want to stare into such a dark mirror?
Yet while this singular production, which opened on Thursday night at the Belasco Theater under McPherson’s luminous direction, evokes the Great Depression with uncompromising bleakness, it is ultimately the opposite of depressing. That’s because McPherson hears America singing in the dark. And those voices light up the night with the radiance of divine grace.
A fluent fusion of seeming incompatible elements, “Girl” occupies territory previously unmapped on Broadway, and it speaks its own hypnotic language. Technically, you could say it belongs to a genre that is regarded by some as the great blight of Broadway: the jukebox musical, which uses back catalogs of popular recording artists as scores.