Susan Granger’s review of “The Daughter-in-Law” (Mint Theater/New York City Center Stage II)
Boasting “Lost Plays Found Here,” Off-Broadway’s Mint Theater Company has unearthed a play by D.H. Lawrence that was neither published nor produced during his lifetime. Indeed, it first appeared in print in 1965 in a compilation of his work.
In 1967, The Royal Court staged the world premiere, which Michael Billington of The Guardian hailed as “One of the great British dramas of the 20th century.”
Written in 1913 amid concern about the impending national coal strike of 1912, it’s set in Lawrence’s native Eastwood in Nottinghamshire and revolves around Luther Gascoyne (Tom Coiner), a gruff, young Lincolnshire miner, and his bride Minnie (Amy Blackman), a former governess.
Married only seven weeks, trust between the newlyweds is shattered by betrayal when Luther’s opinionated, outspoken mother (Sandra Shipley) discovers that her boorish son impregnated a local girl just before the wedding. Barely disguising her pleasure, she’s delighted at her daughter-in-law’s dismay.
Why? Is it socio-economic class conflict – because Minnie is more cultured and better educated? Perhaps because she has a nest egg? And does she take some perverse pleasure that Minnie’s money will pay off the 40 (British) pounds that Mrs. Purdy (Polly McKie), the pregnant girl’s mother demands, ostensibly to avoid a public scandal?
According to widowed Mrs. Gascoyne: “Marriage is like a mouse trap, for either man or woman – you’ve soon come ter th’ end o’ th’ cheese.”
Eventually, having proposed to him herself, Minnie skewers Luther’s less-than-manliness and refers to his younger brother Joe’s (Ciaran Bowling) dysfunctional attachment to his mother.
Problem is: the cast’s East Midlands dialect is difficult to understand although dramaturg Amy Stoller’s coaching makes their disctinctive language sound remarkably authentic.
After directing a previous production of this play in 2003, Martin Platt revives the provocative, emotionally charged, psychologically driven concept with confidence, effectively sharing his vision with set designer Bill Clarke, costumer Holly Poe Durbin, lighting designer Jeff Nellis and composer Lindsay Jones.
Yet in 2022, some may find that the ‘dated’ theme of maternal dominance/blame conflicts with contemporary feminism.
Running two hours and 20 minutes including an intermission, “The Daughter-in-Law” plays at the City Center Stage II (131 W. 55th Street) through March 20.