The Daughter-in-Law Flyer

PRODUCING ARTISTIC DIRECTOR

non - profit u . s . postage

pa i d

New York, NY Pe r m i t N o . 7 5 2 8

JONATHAN BANK

CAST

Amy Blackman Ciaran Bowling Seth Andrew Bridges Tom Coiner Katie Fanning Polly McKie Sandra Shipley Tina Stafford

“Interesting in so many ways that it’s hard to know where to begin.” The New York Times

is:

The

The

412 West 42nd St New York, NY 10036

AUGHTER HTER−IN−LAW DAUG

CREATIVE TEAM

Bill Clarke Holly Poe Durbin Jeff Nellis Lindsay Jones Joshua Yocom Amy Stoller Stephanie Klapper New York City Center Stage II 131 West 55th St (Between 6th & 7th)

MINTTHEATER.ORG

THIS PRODUCTION IS SUPPORTED IN PART BY: The New York State Council on the Arts with the support of the Governor and the New York State Legislature.

By public funds from the New York City Department of Cultural Affairs in partnership with the City Council.

In 2003, Mint Theater Company introduced New York theatergoers to D.H. Lawrence the playwright with a production of The Daughter-in-Law. Critical acclaim for Mint’s production was overwhelming.

Originally scheduled to run for five weeks, Mint’s production played for five months, setting attendance records for the Mint that have yet to be broken, including a stretch of 74 consecutive sold-out performances.

THE NEW YORK TIMES D. H. Lawrence’s Young Wisdom By Bruce Weber

David Herbert Lawrence was born in 1885 in Eastwood, Nottinghamshire.

He is best known as the author of Sons and Lovers, The Rainbow, Women in Love and the notorious Lady Chatterley’s Lover, which was considered to be obscene and widely banned.

Published June 16, 2003

“The Daughter-in-Law, a play by D. H. Lawrence, written probably in 1913, about the time he was working on “Sons and Lovers,” is interesting in so many ways that it’s hard to know where to begin. For one thing it was literally a script tossed in a drawer and forgotten, remarkable given the pedigree of the author, and it was neither published nor performed in Lawrence’s lifetime. Astonishingly, it was not seen until the Royal Court in London put it on in 1967.

“That it remains an obscure work is equally surprising, because Lawrence’s tale of a marriage strained by class conflict is so well constructed, so brutally intimate and so psychologically shrewd that it has the prescience and dimensions of an important modernist work.

In its portrayal of characters who, each painfully circumscribed by his or her own psychological qualities, beat on one another with merciless repetition and mounting frustration, it is reminiscent of no other playwright so much as O’Neill.

“One can readily understand why managements rejected it in 1913,” writes Charles Spencer in the Daily Telegraph, “for its authentic, deeply felt unpatronizing portrait of working-class life would have been almost inconceivable on the snobbish, strait-laced stages of the day.”

Lawrence was frustrated by his inability to find a producer willing to take a chance on him.

“I believe that just as an audience was found in Russia for Chekhov, so an audience might be found in England for some of my stuff, if there were a man to whip ‘em in. It’s the producer that is lacking, not the audience.”

“Luther Gascoyne, the miner at the center of the play, is a young man of earthy tastes who never aspired to anything other than what he has become, a working man who comes home each night to a wife. His wife, Minnie, however, is a former governess with higher-minded, society tastes, and it is only weeks into the marriage that their mutual irritation erupts in an ugly display.

Mint Theater Company is the producer that Lawrence was lacking. We are thrilled to bring this powerful drama to new audiences, 19 years after our first production. Don’t miss out on “one of the great British dramas of the 20th century” Michael Billington, The Guardian

“But we don’t meet either of the two central characters until after a long prologue, in which the play’s other three figures — Luther’s domineering mother, his younger brother Joe and a neighbor woman, Mrs. Purdy — engage in a remarkably frank discussion of a morally dicey predicament. It turns out that Luther’s dalliance with Mrs. Purdy’s daughter, just weeks before his hasty marriage to Minnie, has resulted in a pregnancy.

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“The forthrightness of Lawrence’s presentation of the sexual aspects of the story is downright stunning; it is written with the emotional insight of a genuinely literary intelligence. There is not an ounce of coyness in Lawrence’s script, and each character has a fully grounded and virtually unshakable sense of his or her own just deserts, and as these expectations bang into one another again and again, the pain that is created is both viscerally sharp and chronically throbbing. Rarely do you see lives so persuasively scraped raw onstage.”

Bruce Weber, The New York Times © 2003 by The New York Times Co.

Performances February 8 through March 20, 2022

Tue, Wed, Thurs, Fri, & Sat at 7:30pm | Wed, Sat, & Sun at 2:30pm At New York City Center Stage II 131 W 55th ST (between 6th and 7th)

Premium Seating: $80 (+ fees and service charge) Standard Seating: $65 (+ fees and service charge) CheapTix: $35 (+ fees and service charge) Ticket Info

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