Girl from the North Country

A long country road with telephone lines and a sunset or sunrise.

Show Details

Performance Schedule

TUESDAY & THURSDAY @ 7 PM
WEDNESDAY, FRIDAY &  SATURDAY @ 8 PM
WEDNESDAY & SATURDAY @ 2 PM 
SUNDAY @ 3 PM

Run Dates

February 07, 2020 - Open Run

Upcoming Scheduled Events

No scheduled performances found.

Running Time

2:30 hrs

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Show Description

Under the direction of Governor Andrew Cuomo, Broadway shows in New York City will suspend all performances immediately in support of the health and well-being of the theatregoing public, as well as those who work in the theatre industry. Performances will commence the week of April 13, 2020. 

After critically-acclaimed, smash-hit runs at the Public Theater and the West EndGirl From The North Country brings its rousing spirit to Broadway.

1934. A time-weathered guesthouse in the heartland of America. Only a song can shake off the dust for one group of wayward souls—and old dreams may hold the promise of new beginnings. As they pass in and out of each other’s lives, their stories awaken with passion, fury and extraordinary beauty.

Reimagining the music of Bob Dylan as roof-raising ensemble pieces and soul-stirring solos, celebrated playwright Conor McPherson (The Weir, The Seafarer) writes and directs this heartbreaking and universal story about family and love. 

Girl From The North Country 
is a breathtaking new show that Ben Brantley of The New York Times calls “a ravishing production. You may find yourself thinking that this is as close as mortals come to heaven on Earth.”

Audience Advisory

Production contains flashing light, bursts of sound including live gunshots, on-stage smoking, mature language.

Tickets


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Standard Tickets


February 07, 2020 - Open Run

Wheelchair seating and assistive listening devices are always available.

For Show Times, see Performance Schedule above.


Wheelchair

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Hearing: Assistive Listening Devices

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Theatre Details

Address

Belasco Theatre
111 W 44th St
New York, NY 10036

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Public Transportation

By Subway: A, C, E, N, Q, R, 1, 2, 3 To 42nd Street, walk North to 44th Street, east to theatre. Alternatively, take the B, D, or F - To 42nd Street at 6th Ave then walk North to 44th Street, west to theatre.

By Bus: Five buses stop near the Belasco Theatre. Please take the M5, M7, M20, M42, or M104

Additional Accessibility Details

Wheelchairs: Wheelchair seating available. Theatre is not completely wheelchair accessible. There are no steps to the designated wheelchair seating location.

Seating: Seats 1018. Orchestra has no steps. Mezzanine: Located on 2nd level, up 1 flight of stairs. Once on the Mezzanine level, there are approximately 2 steps up/down per row. Entrance to Mezzanine is behind row H. Balcony: No elevator, stairs only. Once on the Balcony level, there are approximately 2 steps up/down per row. The entrance to the Balcony is behind row F.

Elevator\Escalator: There are no elevators or escalators at this theatre.

Parking: The closest parking lot is Meyer Parking at 146 West 44th Street.

Entrance: There are two steps into the theatre from the main entrance. An alternate entrance with an accessible path of travel is located to the left of the main door.

Box Office: Lowered accessible window at the end of the box office.

Restroom: Wheelchair accessible restroom is available. Additional restrooms are also located down one flight of stairs, and on the mezzanine and balcony levels.

Water Fountain: A water fountain is available in the main lobby.

Telephone: A pay phone is located in the theatre lobby. Accessible at 54"

Assisted Listening System: Reservations are not necessary. Drivers license or ID with printed address required as a deposit. Please call: (212) 582-7678 to reserve in advance.

Folding Armrests: There are four (4) seats with folding armrests in this theatre.

Reviews (3)

McPherson makes little attempt to have Dylan’s introspective, poetic songs (arranged in a period country-folk style, with intricate harmonies) directly flow out of the dialogue. Instead, they function as a kind of live soundtrack, commenting upon a preceding scene or heightening an emotion or mood. The musicians (who play their instruments onstage) and back-up singers mix in with the principal actors, creating a seamless company. The ensemble (including Jay O. Sanders, Kimber Elayne Sprawl, Todd Almond, Robert Joy, Marc Kudisch, Luba Mason and Matt McGrath) is uniformly excellent, but it is Mare Winningham who anchors the production with her raw and powerful performance as Elizabeth.

CONTINUE READING THE AM NEW YORK REVIEW

This achingly beautiful musical weds the songs of Bob Dylan to a book, by Conor McPherson, that explores the unsettled destinies of the denizens of a boarding house in Duluth, Minn., during the Great Depression.What unites the characters, diverse though they are, is a sense of tenuousness, the feeling that the earth will never feel firm beneath their feet, that they will forever be on a search for a resting place. In short that they will remain adrift, “without a home, like a complete unknown, like a rolling stone,” to borrow a famous Dylan lyric that is emblematic of the musical’s central theme, the loneliness that follows the characters like an unshakable shadow.

CONTINUE READING THE BROADWAY NEWS REVIEW

McPherson directs the production with calculated style, proving himself the rare playwright who can helm his own work. The actors often sing at microphones. Many times they gather in groups to back up those, like Bayardelle and Scott, fervently soloing. Winningham goes to the onstage piano, once playing Debussy’s “Clair de Lune.” Almond has a harmonica solo. At different times, Mason and Kudisch work a drum set. Among the 13-strong cast members, there’s no first of equals—unless it’s Winningham for her addled Elizabeth or unless it’s Scott for his down-and-out boxer or unless it’s Bayardelle for her wise Mrs. Neilsen or unless it’s McGrath for his slippery Reverend Marlowe or unless it’s Kudisch for his bullying Mr. Burke or unless it’s any of the other terrific eight.

CONTINUE READING THE NEW YORK STAGE REVIEW