Theater Review: Dylan’s Music, Cast Lift Cape Rep’s ‘Girl from North Country’

 The Great Depression lasted 10 years, from the Wall Street crash in 1929 to 1939. My mom was born in 1930, and she often related any story from her early years by prefacing it with, “It was during the Depression.” Even in her 91st year, she could still vividly remember that difficult time. 

 Cape Rep’s production of “The Girl From the North Country,” under Maura Hanlon’s direction, is a true representation of that terrible time. Conor McPerson’s play with songs by singer/songwriter Bob Dylan and arrangements by Simon Hale, is set in the year 1934 in the middle of the Depression and in the middle of our nation, in Duluth, Minn. 

 Dylan’s song, the title of the play, is about a lost love. So much was lost during those struggling times: chances for love, homes and livelihoods, adequate health care and even sanity. Seeing the characters’ struggles made me pause and reflect that we are now just a few years away from the century anniversary of this period, and so much feels eerily similar. 

 This “play with music” is set in the Laine family’s boarding house, filled with multi-layered characters with complex stories that could each make up a play on their own. And they're all under one roof! 

Nick Laine (Lewis Wheeler) is facing foreclosure on the boarding house and is trying to keep everything afloat. His character is not really very likable, but he’s dealing with some pretty heavy circumstances. His wife is literally losing her mind, his son drinks too much and his unwed daughter is pregnant. Wheeler captures his pragmatic approach to all this perfectly. Nick’s wife Elizabeth’s moments of clarity are hilarious yet painful. Amanda Collins is fabulous as this pivotal character. Gene Laine (Elijah Corbin) is a mess, but as with any human being, even the messy ones, he has a soft spot and that is for his adopted sister, Marianne. Their moments are subtle but speak volumes. Indya Cherise’s Marianne is luminous and captures the character’s many complexities with sweet nuances. 

 The play’s narrator is Dr. Walker (Jack Kerig), the town’s physician who seems to know all that goes on in the town. Mr. Perry (Cleo Zani) is the lonely cobbler who’s been looking for companionship since his wife died many years ago. Kate Draper (Madison Mayer) is a level-headed girl who chooses good sense over love. Joining the Laine family in the boarding house is an even more unconventional group. There’s Mrs. Nielsen (Christine Monahan) who is waiting for a promised cash windfall while having a not-so-secret affair with Nick; the Burke family (Anthony Teixeira, Denise Page and Zack Johnson) with some secrets involving their mentally impaired son; Reverend Marlowe (Ian Hamilton), who let’s just say is not as devout as he appears, and Joe Scott (Julius P. Williams, III), a washed-up boxer with a checkered past but with an eye on a future with Marianne. 

 This is a true ensemble piece, with each cast member giving their all. Dylan’s music serves as an emotional postscript to all the passion and intensity unfolding on the stage. The nearly 20 familiar Dylan songs sound incredible performed by these perfectly harmonized voices: "Forever Young,” "Like a Rolling Stone,” “I Want You,” “Hurricane” and “Girl From the North Country” are all here. 

 And the five-piece band delivered! Under Scott Storr’s musical direction, they are Storr (piano), Susan Goldberg (bass), Chris Santos (percussion), Stephen Banville (guitar) and on opening night Sara Degraide (violin). 

 Director Hanlon's staging on the very detailed yet uncomplicated set design (Ryan McGettigan) was very effective and dramatic. As far as the costume design, I’ve always been in awe of the minute details in Robin McLaughlin’s design. She taught me long ago that it’s those details — like Gene’s misbuttoned shirt — that reveal so much more about the characters. Stage manager Brielle Whalen kept all the details in place on the set and handled Susan Nicholson’s lighting design from the booth excellently. 

 I’m sure Cape Rep chose this play for not only the excellent writing and score but for its timely message during our current economic times. The play is about two and a half hours long with a 15 minute intermission. The emotionally packed show is depressing yet heartwarming thanks to the music and the excellent performances.