Rutherford and Son

“Rutherford and Son” was first staged exactly 110 years ago, when it caused a minor sensation as it had been written by a woman, Githa Sowerby.  Long years of neglect were to follow until the play was staged once more in the 1980s, since when there have been a number of high profile revivals, including a production by Northern Broadsides at the Oxford Playhouse in 2013 – the inspiration for the Bartholomew Players’ staging of the play.  In his programme note, the Director describes “Rutherford and Son” as the story of a family on the brink of collapse – a searing depiction of class, gender and generational warfare.  A touch hyperbolic, perhaps, but that’s essentially what this piece is.

It is also unremittingly dark – after all, it is set in the industrial North of England in December 1912 – and the production captured this well.  The setting was appropriately gloomy, with heavy drapes drawn to exclude any hint of natural light, deep green walls, and a single portrait of the original Rutherford glowering down on austere dark wood furniture.  The setting had been packed with period properties; I particularly liked the practical oil lamp and candles, and the chenille table covering.  The feel of the piece was further enhanced by the costumes and make-up, with a preponderance of heavy fabrics helping with the characterisation.

And so the scene was set for John Rutherford Senior and his family to play out their drama.  Rutherford himself is bluff, uncompromising, traditional to the point of old fashioned, an historical figure who feels cheated of his due by capricious fate.  He treats his children and his employees appallingly, assuming an almost divine authority and expecting everyone else’s behaviours and ambitions to fit into his own world view.  This production presented a relatively sympathetic treatment of Rutherford’s character; a man attempting to impose his will through the force of argument, rather than the argument of force.  The supporting cast gave a good account of the family members and factory staff who suffer variously at his hands, and who stand up to him with varying degrees of success.

This revival of a long-neglected play illustrated once more its relevance and merit.  The Bartholomew Players are fortunate to be able to draw on such a pool of creative and technical talent to present productions of such quality.

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