It’s strange to consider the human condition as revealed in a beauty parlour. Steel Magnolias, however, accomplishes exactly that. Upon the death of his sister, playwright Robert Harling interwove reflections on religion, tragedy, and the myriad complexities of human relationships in a script that is nothing short of a linguistic maelstrom. It’s a worthy season-opener for Players’ Theatre, and the cast and crew delivered an emotionally charged and rewarding performance.
Six women meet in the warmth and modest glamour of a Louisiana beauty parlour. Truvy, owner of the shop is the sass, fueling the ladies’ firecracker conversations. Annelle is shy, new to town, and eager to please. The adorably off-kilter widow Clairee delights in teasing the outrageously combustible Ouiser. Shelby, delicate of body but strong of mind, attempts to balance the realities of her situation with her dreams and aspirations. Her mother M’Lynn struggles with her instinct to protect versus the instinct to let go and trust in Shelby’s decisions. As time passes, personalities clash, change, and grow, and the common bond between the women unites them in moments of deep sadness, and moments of great joy.
Rapidly paced and sharply acted, Players’ production was a whirlwind of laughter and joy interlaced with profundity and introspection. The overall performance was impressive, buoyed by the strong talent of its small cast.
Just a few seconds in, it was clear that director Beatrice Hutcheson-Santos had amassed a commendable set of talent. Characterizations were solid; Lerato Islam’s Ouiser and Annie MacKay’s M’Lynn were especially impressive. While arguably the showiest roles of the piece, both Islam and MacKay filled every dimension demanded by their characters. At her best, MacKay was downright devastating, with a delivery possessing anguish, power, and grace in perfect proportions. Equally delightful was Clairee (Sarah Archibald), who maintained a dilapidated posture that fit the kooky nature of her character remarkably well.
The set was simple yet appropriate, serving well to convey the time period and location of the play. The linear layout of the salon chairs subtly accented the flow of the machine-gun conversations. Although at times movement appeared to be limited by the set pieces, this was a non-issue in the long run. Sound was less successful, with some songs providing little benefit. Both make-up and costuming were fantastic; outfits were not just complementary to the characters, but exciting in their own right.
While an impressive production overall, Hutcheson-Santos could have turned the screws just a little bit tighter. Steel Magnolias features seemingly endless rounds of rapidly delivered lines. Throw the Southern accent on top of this, and it’s clear that the cast’s undertaking was no cakewalk. That being said, there were several moments when the timing was skewed, and while some of these may have been line issues, others required either a timely pause, or a snappier pickup. Occasionally, the reaction to a line arrived before the line itself. Fortunately, these are, for the most part, minor issues, and easily remedied.
Although many will be familiar with the 1989 film version, the snug setting of a theatrical stage truly complements the intricacy and intimacy of the script. These inherent strengths were not overlooked by the cast and crew at Players’ Theatre; the production was at times heartwarming, at others heartwrenching, and always a joy to behold.
Steel Magnolias will be running at Players’ Theatre, SSMU 3rd floor, from September 21—23.
