![]() Regular theatergoers can experience a similar intersection of concert and narrative storytelling in The New Group’s Bob and Carol and Ted and Alice(Duncan Sheik’s adaptation of Paul Mazursky’s 1969 film of the same name), while a few blocks away, fans still flock to Come From Away, which employs choreographer Kelly Devine’s ensemble-driven staging, which drifted across my mind as movement director Lucy Hind navigates Girl From North Country’s ensemble through heavily shadowed, pedestrian formations. In the spirit of Once and John Doyle’s minimalist musical revivals ( Sweeney Todd, Company), where the acting ensemble displays its musicianship, several actors take to the drums, others shake a tambourine or gather around a stand mic as if preparing for a segment on Lux Radio Theatre. McPherson’s unapologetic approach works… until it doesn’t. The cast of ‘Girl From North Country.’ (Photo: Matthew Murphy) Burke (Marc Kudisch and Luba Mason), their mentally underdeveloped son, Elias (Todd Almond), and a few other boarders. There’s a lot to unpack in this house, and that’s before we meet Mr. ![]() Sanders), his wife Elizabeth (Mare Winningham, Casa Valentina), who has slowly unraveled into a fractured and foul-mouthed mental state, and their two adult children, the heavy-drinking Gene (Colton Ryan), and the adopted and pregnant-without-a-husband Marianne (Kimber Elayne Sprawl ( A Bronx Tale). ![]() Written and directed by Conor McPherson, Girl From North Country’s central plot follows patriarch Nick Laine (Jay O. Girl From North Country strikes plenty of familiar chords, but its Great Depression timestamp weighs heavy on the Grammy winner’s half-century body of work. A Minnesota boarding house on the verge of economic collapse provides the moody backdrop for Bob Dylan’s songbook in Broadway’s latest attempt to artistically and commercially capitalize on music never intended for theatrical interpretation.
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