The Daughter-In-Law

      By Joseph Cervelli

It is always amazing how so many plays from the early part of the 20th Century are so apropos today. Case in point is D.H. Lawrence's "The Daughter-In-Law" being given a first rate production by the always excellent Mint Theater Company. Dealing with marital relationships, social class, strikes and sexual mores, the 1913 play feels so fresh thanks to Martin Platt's lively direction and the sublime cast. I must say that I was a bit concerned knowing that the dialect they speak which is from the British Nottinghamshire area is not the easiest to comprehend, There were just a few moments that I did have some difficulty but you can with a little effort get back into the phrasing, and it does not deter from the enjoyment of the play.

Mrs. Gascoyne (a terrific Sandra Shipley) who lives with her son Joe (Ciaran Bowling) is visited by a neighbor Mrs. Purdy (Polly Mckie) to be told that Mrs. Gascoyne's other son, Luther (a knockout performance by Tom Coiner), has gotten her daughter Bertha pregnant. Luther is now married to Minnie (a delightfully cunning and independent Amy Blackman). Purdy will forget this if she is paid forty pounds. WhileMrs. Gasoynemay have the money to do so, she informs Mrs. Purdy to visit her son and confront him. Mrs. Gascoyne is a sharp, domineering and overprotective mother whose austere personality only build as the play goes on. 

Joe loves his brother dearly and rushes off to tell him of what has occurred before Minnie finds out. Of course, it is only a matter of time before Minnie is aware of what has happened. Her reaction and what she eventually does is marked by staunch feminism. When you first see Luther he is covered in black from working in the coal mines. Minnie is of another social ranking which is clear even in her better speech patterns. She is a shrewd and self-reliant woman not afraid to express what she wishes. 

Mrs. Gascoyne becomes even more possessive and her disdain for Minnie becomes more evident as the play moves on. Why Minnie seems to still have great affection for Luther is not clear especially after her taking leave for a while. But it does not really matter. She has proven her independence as a woman and Luther becomes aware of this. His anger at what he does to a gift she has bought for herself when she was away is thunderous and Coiner's rage is incredibly believable. When you destroy the one thing that a person you supposedly love it becomes even crueler. 

As I mentioned the performances are all top notch especially Coiner's and Blackman's. As boisterously angry as Luther is towards Minnie there is no doubt she knows how to handle him. Watch the part (earlier in the show before she leaves) where she removes his boots when he returns from a day in the mines. Strangely, it is a tender moment that you would not expect. 

The set design by Bill Clarke is very authentic and the ease of changing the set from Mrs. Gascoyne's home to Luther and Minnie's is done perfectly with little fanfare.

I would suggest you listen very carefully to the actors so the dialects become less daunting. It is well worth the effort. The play which was not produced until the late 60's is a joy to watch. 

PHOTOS: Marie Baranova

Tickets are available at New York City Center 131 West 55th Street or by calling 212.581.1212.