Capturing the spirit of Bob Dylan: Girl from The North Country

Posted on 28 July, 2022

It may be set in 1930s post-war Depression, but with themes that touch on racism, poverty and a fear for an uncertain future, Girl from The North Country will no doubt resonate with audiences today.

“There are a lot of parallels in this piece to what’s going on at the moment,” says actress Chemon Theys, who plays Marianne in the hit musical.

“Inflation has triggered a fear with rising petrol costs and property—even buying life’s necessities is proving difficult while people are still being paid the wages of the past. So there is a lot of uncertainty for people to live, and how to take care of their families, that is also explored in this production.”

Coming to Canberra Theatre Centre in August, the musical—written and directed by multi award-winner Conor McPherson—features the reimagined songs of Bob Dylan and has quickly taken the theatrical world by storm.

Set in Minnesota in the winter of 1934, when America is in the grip of the Great Depression, the musical follows a group of wanderers living in a guest house run by Nick Laine, played by Peter Kowitz. Poverty, insecurity, desperation and fear for the future are all major motivators for the ensemble of 19 characters.

Chemon’s Marianne is the African-American adopted daughter of Nick and his wife Elizabeth, played by Lisa McCune. Marianne is unexpectedly pregnant and will not discuss who the father is. She is soon placed in a predicament when she is told she is being sold off to work for another man.

Along with fuelling the ongoing conversation about racism in America and beyond, Marianne’s finding her life dictated by a man brings to mind the recent reversal of Roe vs Wade in America, which protects a woman’s right to abortion.

“There are so many things that are happening that are out of Marianne’s control, and that definitely brings parallels to Roe vs Wade,” says Chemon.

“Ideally Marianne would like to stay with the family she was raised with and raise this child under the roof she has grown up with, but unfortunately she is being sold off, and that is out of her control. Even being adopted by this family was out of her control. No-one should have to deal with their life being dictated by others.”

Marianne says preparation for her role, which includes two solos, began late last year—with COVID proving an added challenge to rehearsals.

“When we started in November last year, close contacts were still a thing. So the whole cast had to live securely and privately so we could nail the scenes and songs to get a beautiful cohesive show,” she says.

“It was really important everyone stay on top of their game and stay healthy and safe. Since that time, we’ve had so many performances to swap people out, whether it’s due to COVID or the flu or otherwise, but this show is a machine that can keep working with teamwork, because it is such a great ensemble show.”

Chemon describes the way music is used in the show as a “feeling” rather than the performance itself, as “revolutionary.”

“[Bob Dylan] is a beautiful poet and I think his lyrics just resonate here,” she says.

“The songs used in musicals are usually progress for the text, but with our show the play drives the show, while the songs are a moment frozen in time. I think it is sort of revolutionary. There are so many interesting characters in this show, so I really hope audiences just let the story carry them.”

As a self-described “latecomer” to theatre, Chemon says the show has given her the opportunity to grow and learn from the best.

“Lisa McCune is one of the best humans I’ve ever met, her talent is out of this world. Working with her onstage, and even backstage, she is always inspiring me with all this advice she has to give. The whole cast’s craft is so refined and they have really put their heart and soul into this. As a rookie actress like myself, to work with these people is so inspirational.”

Photoraphy: Daniel Boud