Bob Dylan’s songs are so emotive and intense that they might well have overwhelmed the action.

It’s greatly to McPherson’s credit that Girl From The North Country is such a compelling drama in its own right.

McPherson has written a subtle and touching play about small town lives in middle America in the 1930s.

The Great Depression has entered the very bones of the drifters and fugitives who end up in Nick’s boarding house in Duluth, Minnesota.

Each of them is, indeed, on their own “like a rolling stone”, tumbling towards a personal abyss.

The songs, some familiar others little known, are used both in a standard way to crystallise the characters’ emotions and, more unusually, to comment on them.

They weave an extraordinary tapestry of melancholy and defiance and are superbly delivered by a faultless cast; of whom Shirley Henderson, Sheila Atim, Bronagh Gallagher and Debbie Kurup make the biggest impact.

I hailed this show on its premiere last autumn.

This well-deserved transfer should not be missed.

It’s the most powerful, affecting and original musical in London.

And, yes, that includes Hamilton.