D H Lawrence’s The Daughter-in-Law, named as his masterpiece, depicts a set of industrial unrest, elusive desires and flaming tensions erupting from a Nottinghamshire home. This portrayal of working class mining culture in 1912 is infused with the mother-in law, daughter-in-law relationship, stemming from Mrs Gascoigne’s rigid grasp of her son, Luther.
The opening scene invites us into Mrs Gascoigne’s home fully furnished with blue willow patterned dinnerware, exhibited within the Hoosier cabinet, a traditional cast iron stove and a homely pantry which radiated the period perfectly. A neighbour, Mrs Purdy, comes to the house with some unwelcome news: her daughter had fallen pregnant to Luther, a man who had been married to another woman, Minnie for a mere six weeks.
The following scenes expose two lovers helplessly hurt and deeply destroyed by the pregnancy. The cries of pain echo around the theatre, penetrate into your own skin and instil a shared sadness around the room. Both characters Luther and Minnie, perform at their finest when stripped bare to portray their vulnerabilities and ultimately, true love for one another.
The embedded problems continue to unwrap as Minnie expels her frustrations about their dictated lives, imposed by Luther’s mother, Mrs Gascoigne. Yet, the solemn nature of the play is at times lifted by instances of Joe Gascoigne, Luther’s brother. His witty and cheeky charm had the audience is howls of laughter which occasionally diverted the play to induce a more light-hearted temperament.
The Daughter-in-Law was at times slow to unfold with unnecessary drawn-out scenes; I did occasionally have to stop my eye from wondering around the room. However, truly raw emotions are at the epicentre of this play with actors that perform so beautifully and true. I was allured by their love and endured the pain alongside them.
