“How is a woman to have a husband when all the men belong to their mothers?”
You have to respect the huge ambition behind Husbands and Sons, Marianne Elliott and Ben Power’s adaptation of three DH Lawrence plays which sees each of them run simultaneously in the round in the Dorfman. It manages this by taking the Holroyds from The Widowing of Mrs Holroyd, the Gascoignes from The Daughter-in-Law and the Lamberts from A Collier’s Friday Night and imagining them living on the same street in the East Midlands village of Eastwood. And spread over three weeks in October 1911, the interlocked, if not intersecting, dramas of their lives play out, dominated by the long shadow of the pit.
Initially it’s a dizzying affair, as the eye and the ear deals with the three separate domestic establishments. Bunny Christie’s design takes a visual cue from the Lars von Trier film Dogville with the fully furnished houses demarcated by white lines on the floor and labelled by name, doors (and coats, weirdly) are mimed with accompanying sound effects. And with a nod to the fixedness of this arrangement, ticket-holders in the pit swap seats at the interval, getting to sit in the corresponding place on the other side of the auditorium, offering an alternative perspective on the goings-on. Continue reading “Review: Husbands and Sons, National Theatre”