A Rediscovered Dramatic Gem

Rutherford and Son – TimeLine Theatre

Male chauvinism isn’t a new attitude. It has, unfortunately, been around everywhere for centuries. And still, despite a great deal of resistance and all manner of women’s movements and protestations, it’s still with us. Examples of male dominance are prevalent in the literary world, especially when it was revealed that, in the past, most female authors were forced to write under a male pseudonym in order to have their works published. Even when a woman managed to publish her writing under her own name, it was often dismissed and not taken seriously.

A prime example of this scholarly sexism is early twentieth century British playwright, Githa Sowerby. She’s certainly not a household name, probably unknown to most theatre scholars and certainly unrecognizable to American audiences. But Ms. Sowerby, among her other literary accomplishments, wrote a powerful play in 1912 that had a few successful performances at that time. Then the drama was forgotten or neglected for decades until it was accidentally discovered in 1980 by feminist organizations. After several successful English revivals, Chicago audiences have finally been given the chance to appreciate Ms. Sowerby’s insightful drama. TimeLine Theatre’s mission to produce plays that “explore today’s social and political issues through the lens of the past” is the motivation for bringing Ms. Sowerby’s drama to life in this timely production.

Rutherford is the tyrannical owner and manager of an important glassworks factory in Northern England. It’s been in his family for decades, but the industry is slowly going to pieces. At his dismal home, Rutherford rules his family in the same stern, unyielding manner. He’s alienated his daughter, Janet, and both of his sons, John and Richard, even ignoring his son’s wife and their child, who also share his home. When John professes to have created a more economical formula for making glass, a discovery that could save the family business from financial ruin, Rutherford refuses to pay his son for the recipe. When all of his children eventually walk out on him, Rutherford is left only with Mary, John’s wife, who shrewdly offers her father-in-law a proposition that gives her the upper hand with this heartless tyrant. 

Company member Mechelle Moe skillfully directs this long overdue play, giving the drama a respectable production that’s both eloquent and powerful. Staged within Michelle Lilly’s sparse, but austere scenic design, the acting area is framed by a hovering, labyrinthine tangle of manufacturing pipelines that reminds us that this play is set during the height of the Industrial Revolution. The show is atmospherically lit by Brandon Wardell. If the massive fireplace which dominates the house’s great room isn’t enough to indicate the time period, Alexia Rutherford’s somber, subdued costumes reinforce the look. They also help set the tone for this play, constantly reminding the audience that this is a stiff, no-nonsense, unforgiving household.

Francis Guinan, a name closely associated with Steppenwolf Theatre, has always been a revered, sublimely gifted Chicago actor. For many years, he’s created an array of strong characters, like this perfectly-performed, multilayered portrayal of the unyielding tyrannical patriarch, Mr. Rutherford. Before he even enters the stage, the audience knows that this is a powerful man, an autocrat who rules his home, his glass-making factory and, indeed, the entire town, with an iron fist. Usually keeping his anger and frustration checked, Mr. Guinan seldom raises his voice. Wisely, the actor knows that this character has no need to shout because his word is the undisputed law. However, change is in the air and Rutherford’s authority is about to be challenged.

Gradually, we learn that the ladies of this household are starting to find their own voices and are becoming less intimidated by Rutherford. As the play progresses, we observe the women growing stronger and braver in every scene. They’re gradually becoming unafraid to express their opinions and displeasure with life in this house. Rutherford’s older sister Ann has assumed a maternal role among the household, in the absence of her brother’s deceased wife. As such, she blindly supports Rutherford’s ideals and views, and represents all the other individuals who cower under his authority. Portrayed with subservient dignity by a very talented Jeannie Affelder, Ann has command of the house when her brother is absent. Ms. Affelder also plays Mrs. Henderson, the mother of a young worker accused of stealing, whom Rutherford has dismissed from his glassworks company. With the fiery passion of a parent who believes her son’s word over his despotic employer, the actress unleashes a fury that almost stops Rutherford in his tracks. In playing both roles, Ms. Affelder proves to be one of a trio of superb actresses in this production.

Christina Gorman makes her auspicious TimeLine debut as Janet, Rutherford’s 37-year-old spinster daughter. A standout at Shattered Globe, Red Orchid, Boho and Griffin Theatres, among others, Ms. Gorman portrays a woman whose spirit has been drained dry. She lives in the oppressive shadow of her father, bored with her daily mundane existence. Unwilling to squander her energy with hours of  needlepoint or knitting, Janet enjoys helping the maid with simple household tasks. But when Rutherford returns home from the factory, his only use for his daughter is having her remove his shoes and put on his slippers. Finally, in a brilliantly delivered eleventh hour monologue, Ms. Gorman’s character lashes out at her father and delivers an impassioned tirade about his cold, distant parenting and how he’s always been a tyrant with her brothers and herself. It’s the play’s turning point and a credit to Ms. Gorman’s talent. When she finally opens the floodgates, an outpouring of pent-up emotions flow freely, most likely expressing the playwright’s own views.

Rochelle Therrien returns to the TimeLine stage. She’s lovely and stalwart as Mary, a young woman who’s married into the family, and is almost totally ignored by everyone. Ms. Therrien is often staged to stand in the shadows, quietly taking in everything around her. These will be facts which will provide the information she’ll need to effectively deal with her father-in-law. Mary loves her baby and is supportive of her husband but, in the final moments of the play, will become a powerful woman with whom Rutherford must confront. Appearing at TimeLine for the first time, talented Michael Holding is a strong and sympathetic character as John. Together with August Forman, who plays Rutherford’s youngest son, Richard, these two performers create characters who their father demeans, argues with and often totally ignores.

As Martin, Rutherford’s upright foreman, Matt Bowdren has some fine moments. He’s particularly good when his character is struggling with his decision to share John’s new formula with his boss, or keep it a secret. Martin knows that betraying John will end his friend’s only chance for independence. 

The strength in Githa Sowberby’s rediscovered drama is her ability to have depicted a world on the brink of change. A transition had begun and the world’s diversity was snowballing. Women’s rights were emerging and their suffrage was about to become law. A man’s tyranny and assumed superiority was constantly being challenged and a despotic boss became less able to sacrifice his employees for the company. In Mechelle Moe’s intriguing, well-guided production, audiences will discover a little-known play, written at a time when revolution was in the air. It will remind theatergoers of the plays of Chekov, Ibsen and Shaw but, because this play is told from a woman’s point of view, chauvinism is conquered and feminism makes a stand.

Recommended

Reviewed by Colin Douglas       

Presented November 6-January 12 by TimeLine Theatre Company, 615 W. Wellington Ave., Chicago.

Tickets are available in person at the theatre box office, by calling 773-281-8463 x6 or by going to www.timelinetheatre.com.

Additional information about this and other area productions can be found by visiting www.theareinchicago.com.