A scary business

Rutherford and Son follows the trials and tribulations a family who try, with varying degrees of success, to escape the rule of their tyrannical father who rules both the family and the glass business he owns with an iron fist.

What makes the play so convincing is its presentation of the flaws of each individual character, making it impossible to consider any of them as wholly good, or wholly evil.

The plot follows his loss of power in the family home: his son Dick leaves to join a parish in Southport, his favourite John steals his money and runs away, and most importantly Janet begins a secret relationship with the man whom the governor trusts most in the world, his worker Martin.

Northern Broadside’s adaptation of this stifling family drama focuses solely on one room in the house, the dining room. The play was written by Githa Sowerby in 1912, and there are notably huge points of comparison between her own family life and the Rutherford family.

The lack of scene change heightens the sense of claustrophobia within the domestic sphere, particularly for women, who like the audience, cannot leave. This sense of domesticity is strengthened by moments of silence within the novel, the relationships within this home never feel forced.

Funnily enough, whilst this stagnation made me feel increasingly anxious about what could happen between those four walls, it never left me feeling bored.

A special mention must be made to Barrie Rutter’s performance as John Rutherford: he perfectly conveyed the frustrations and anger of a man who had given his life in toil in the belief that he was creating a life for his children.

Whilst he is truly terrifying in the scenes in which he shouts at, first John, and then later Janet, it is hard not to feel some level of sympathy for this failing father.

Despite the dark nature of this family drama comic respite was given in the scenes in which John is proven to be an absolute fool, and through Wendi Peter’s portrayal of the snivelling Mrs Henderson. These moments of humour are much needed not only to provide some respite, but also to increase the credibility of the family tale.

This is one family drama that perfectly portrays the tensions in a community or home that has no hope for change. The resonance of the play still rings true today; power, and power alone cannot bring happiness.

Five Stars out of Five.