The Daughter-in-Law
Closed 2h 30m
The Daughter-in-Law

The Daughter-in-Law NYC Reviews and Tickets

(62 Ratings)
Members say
Great acting, Absorbing, Intelligent, Thought-provoking, Intense

Mint Theater returns with a new production of The Daughter-in-Law, first produced by the Mint in 2003.

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Show-Score Member Reviews (62)

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159 Reviews | 20 Followers
Thought-provoking, Great staging, Clever

See it if You like an intimate theater where you feel a part of the show. You enjoy a story with that is well acted & holds your attention.

Don't see it if You do not like period pieces, even though the story is always relevant.

307 Reviews | 48 Followers
Great acting, Absorbing

See it if you enjoy seeing a really good staging of a really great play. Enjoy older plays, enjoy conventional stagings.

Don't see it if You mind dialects and social conventions and themes from different time periods. Takes a few minutes to get used to the dialogue. Read more

111 Reviews | 13 Followers
Exquisite, Confusing, Great acting, Absorbing

See it if You want to extraordinary acting, see this production.

Don't see it if If you’re not willing to make the effort to really listen. The dialect is authentic but difficult. Read more

104 Reviews | 37 Followers
Slow, Resonant, Profound, Intelligent, Great writing

See it if You are interested in D.H. Lawrence or dense, poetical dramas in the vein of Ibsen or O'Neill.

Don't see it if You don't like plays with heavy dialect. You want a more naturalistic plot. Read more

247 Reviews | 61 Followers
Profound, Thought-provoking, Masterful, Marvelous acting, Absorbing

See it if you love marvelous ensemble acting in a masterful play set in a mining town in the Midlands, UK, in 1912. Read the intro before: it helps!

Don't see it if you expect large problems following a Midlands dialect. You would miss out on a great play, though! Read more

137 Reviews | 10 Followers
Intense, Intelligent, Great acting

See it if you want to see a rarely staged play by someone who is rightfully known primarily as a novelist.

Don't see it if you do not like plays written in regional dialects. Read more

752 Reviews | 145 Followers
Great staging, Great acting, Entertaining, Absorbing

See it if Story about family, I found it interesting and enjoyable.

Don't see it if Sometimes I couldn't understand because the accents. Long show.

536 Reviews | 279 Followers
Great to see a classic like this on stage, Masterful, Intelligent, Strong cast, Absorbing

See it if you enjoy discovering "lost" plays. The Mint is an expert at finding both lost plays and forgotten writers. Fine acting and directing.

Don't see it if you have problems with dialects. You should be fine within the first ten minutes of this exquisite production.

Critic Reviews (8)

Time Out New York
February 22nd, 2022

"4/5 stars...Give the Mint Theater Company an uncut gem...and they’ll buff it into something precious: a multifaceted theatrical heirloom to be treasured for years to come...Directed by Martin Platt, who also helmed the company’s 2003 production, 'The Daughter-in-Law' isn’t—to use more Lawrence lingo—a 'bobby-dazzler' of a play. But the Mint has cleaned it up nicely. It wears well."
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New York Magazine / Vulture
February 22nd, 2022

"A strange and compelling portrait of a misalliance...The anti-romantic show’s pleasures are dark ones and are sometimes deliberately obscure; its realism depends entirely on the cast’s comfort with the East Midlands dialect, which can be difficult to understand. Here, coached by Amy Stoller (also the production’s dramaturg), the cast sounds marvelous, their pronunciations tarred and sticky as old molasses."
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Lighting & Sound America
February 23rd, 2022

One rarely thinks of D. H. Lawrence as a playwright, for good reason; compared to his prodigious output of novels and short stories, his theatrical work was minimal and little-noted. The Daughter-in-Law, written in 1913, wasn't produced until 1967. Yet Lawrence knew how to arrange fiery confrontations that leave no one unscathed, and his insights are as unyielding and adamantine as the coal mined in the Northern England town where the play takes place. Martin Platt's production begins on a relatively quiet note but hang on for some real shockers, including at least one moment that sends gasps rippling through the audience.
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New York Stage Review
February 22nd, 2022

"3/5 stars...The production, as opposed to the play, is admirable. The actors handle their chores well...While 'The Daughter-in-Law' was likely provocative when Lawrence filed it away in 1913—or would have been, had anyone seen it—the controversial issues addressed have been visited so many times that they are now the stuff of sitcoms."
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New York Stage Review
February 22nd, 2022

"4/5 stars...With dramaturg and dialectician Amy Stoller’s guidance, the performers all use a heavy East Midlands accent, but Minnie’s language is rather more refined, and an excellent Amy Blackman gives the character a very different physical bearing...Though 'The Daughter-in-Law' resolves on a more comforting (and quaint) note than one might expect, the questions it raises about marriage and family and class are still provocative—and this hearty, stirring production makes them resonate with all the more vigor."
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February 24th, 2022

The Mint Theater Company which gave the first New York production of The Widowing of Mrs. Holroyd, Lawrence’s best play and one of the great British tragedies of modern drama, has revived The Daughter-in-Law which it first staged in 2003 in an excellent new production again directed by Martin Platt. While the authentic and thick Midlands dialect (developed with specialist Amy Stoller) may be a problem for some theatergoers, not only does it get easier as the play develops but the local slang is easy enough to figure out. Unlike the other two plays in the trilogy, the engrossing Daughter-in-Law is not usually considered autobiographical (Lawrence had not married Baroness Frieda von Richthofen Weekley at the time he wrote it), but it was written at the time of his very autobiographical Sons and Lovers which has similar themes: mothers and sons, and wives and husbands.
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New York Theater
February 23rd, 2022

Gritty, odd, oddly gripping, sometimes subtly comic and often impenetrable… [the Mint production] is uniformly and manifestly well-acted, and effectively designed — but, at the same time, for me at least, a little too authentic… they speak a dialect…that’s hard to decipher
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Off Off Online
February 22nd, 2022

"Despite the difficult dialect and the play’s weaknesses, such as its momentary lurches into sentimentality, the production succeeds due to uniformly excellent acting and sure-handed direction. That the story is clear is a testament to the actors, who handle the language like native speakers and yet make it comprehensible...Even so, a bit less reverence toward the text, in the form of trimming, would help the 90-minute first act from occasionally dragging."
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