Revival of Githa Sowerby’s 1912 classic of industrial patriarchy Rutherford and Son is worthy but rather cumbersome and inaccessible.
Love London Love Culture rounds up the reviews for Polly Findlay’s production of Rutherford & Son at the National Theatre starring Roger Allam.
Githa Sowerby used her own upbringing as the daughter of a Tyneside glass-making family for her breakthrough play, Rutherford and Son, but whether her father was as cold, insensitive and bullying as patriarch John Rutherford is open to speculation.
Rutherford and Son is not my cup of tea. The acting does just about salvage it, or at least stop it from being a complete disaster, but it’s not enough.
Psychology, social rage, human sadness and betrayal move in an elegant circle in Rutherford & Son at the National Theatre and Findlay’s direction doesn’t miss a beat of it.
The actress Laura Elphinstone spoke to LLLC’s Emma Clarendon about starring in Rutherford & Son at the Crucible Theatre, Sheffield.
Gershwyn Eustache Jnr, Leah Harvey and Aisling Loftus lead the cast of Small Island, adapted by Helen Edmundson from Andrea Levy’s prize-winning novel, directed by Rufus Norris in the Olivier Theatre, as part of the National Theatre’s new season.
Sheffield Theatres’ new season includes Standing at the Sky’s Edge by Michael Wynne, with music and lyrics by Richard Hawley; A Midsummer Night’s Dream directed by Robert Hastie with music by Dan Gillespie Sells; and this year’s Christmas musical Kiss Me, Kate.
Rarely seen, half-forgotten, Githa Sowerby’s 1924 play is sharp, entertaining, truthful and elegant: Richard Eyre’s direction respects it with delicate precision.