Award-winning musical Girl from the North Country returns to The Old Vic this summer, bringing Bob Dylan’s timeless songs to life through Conor McPherson’s powerful storytelling. Among the stellar cast is Justina Kehinde, who takes on the role of Marianne Laine in this emotionally rich and musically haunting production.
In this exclusive interview, Justina shares insights into the character, the creative process, and what it’s like to be part of a show that has captivated audiences around the world. With a background in theatre and spoken word, Justina brings a unique voice to the stage.
Girl from the North Country runs at The Old Vic from 24 June to 23 August 2025. Tickets are on sale here.
You’re appearing in Girl from the North Country at The Old Vic — what can you tell us about the show?
Girl From the North Country tells the story of the inhabitants of a guesthouse in Duluth, Minnesota during the Great Depression. Nick Laine runs the guesthouse while looking after his ailing wife, Elizabeth, and trying to secure work for his alcoholic son and safety for his pregnant teenage daughter. Into this mess come a range of guests from across the country desperate to make it through another day. The musical is written by Conor McPherson and uses the music of Bob Dylan to create a mystical and moving portrayal of the human struggle to survive and also to love.
The show blends Bob Dylan’s music with Conor McPherson’s storytelling — how does that combination shape the atmosphere on stage?
Although the songs don’t necessarily serve a narrative function, the poetry of Dylan’s lyrics (and Simon Hale’s arrangements) provides a spiritual and emotional release for these characters against McPherson’s hard and often cruel world of Depression America.
This production marks a return to The Old Vic, where the show premiered in 2017. What does it mean to be part of this revival at its original home?
It’s a real privilege to tell this story in its original home and to embody a role that Sheila Atim so beautifully and poignantly created when it debuted.
You’ve worked across theatre and spoken word — how do those experiences influence your performance in a musical like this?
They’re both forms of storytelling. I get to play with the hard dialogue and the poetic mysticism and hear how each has its own complimentary rhythm.
What would you say to anyone thinking of booking to see Girl from the North Country?
This is a show that will transform you in ways you can’t explain but will always remember. Come now!
