Rutherford and Son tells the story of an early 20th century glass making factory in northern England. It’s run by rough a tumble owner, Rutherford – played convincingly and powerfully by Steppenwolf’s Francis Guinan. Under his thumb are hundreds of workers, who he treats as recalcitrant peasants; and his three children – all of whom chafe under his rule, which has forced them into unrewarding lives. Yet Rutherford is driven only to keep the glass furnaces blasting, oblivious to his tyrannies petty and grand.
This Chicago premiere of the 1912 play by Githa Sowerby is handsomely produced, and relatively engaging, especially considering the antique nature of the work. In its day this first script by Sowerby, a children’s author, was a sensation – though she did not manage to write a successful sequel.
That’s surprising, given how fully drawn and realistic the characters are in what is essentially a melodrama. Perhaps the author could not have a follow-on success because it is somewhat autobiographical, since Sowerby’s family operated a similar glassworks, this was the only play Sowerby had in her. It is not so different than a PBS upstairs and downstairs style drama, as Rutherford and Son tracks three generations of the glass manufacturing dynasty.
Rutherford and Son is also is regarded as an early feminist work.For example, the female protagonist, Mary (Rochelle Therrien is excellent), challenges and bests her father-in-law, Rutherford, in a nicely turned dramatic closing. Mary is the wife of John (Michael Holding), the older son seen - portrayed as a ne’re do well impractical dreamer who is heir to the Rutherford fortune. Holding gets this role just right.
The play takes place in the family mansion, where Rutherford’s sister Ann (Jeannie Affelder is good as the skinny dowager), daughter Janet (Christina Gorman is compelling), and other son, a hapless Anglican chaplain Richard (August Forman) are generally at odds with each other about how to manage the volatile patriarch, Rutherford.
Notable as well is Janet's surreptitious love interest, Martin (Matt Bowden), the quintessence of a dutiful plant manager who goes all to smouldering in an elicit affair with Janet. (The scandal eventually drives both of them away from the factory town.) The assertive Janet is also an empowered female, asking Martin to elope with her, and when he refuses, heading off on her own - certainly an unusual woman stage character, especially in its day.
Under Rutherford’s dominion, hundreds of employees churn out bottles and jars, and inexpensive consumer products in a classic, 19th century style unenlightened capitalist setting. Unwelcome or un-understood by Rutherford are emotional or spiritual matters, or even innovative thinking – nothing but grinding harder to get more and more work done. But the business operations and the family wither under his dark indifference.
The production and sets are excellent, though this is a wordy play. Director Mechelle Moe has chosen to have the players use the regional north country dialect, which may be precise, but is laid on a little too thick at times, impairing understandability. With all that, it is somewhat recommended, though feminist sympathizers and theatre buffs will want to see what is listed by Royal National Theatre “100 best plays of the century.” Rutherford and Son runs through January 12, 2020 at the TimeLine Theatre in Chicago.
