Robert Harling penned this play shortly after the death of his sister and it is very much based on real life experiences: after his sister’s funeral he noticed how the women who supported her came together to share stories and laugh in a way the men of the family seemed unable to do.
Director Michèle Martin has remained faithful to the setting in Louisiana in the heart of the Deep South where the action unfolds in the singular setting of a small-town beauty salon with owner Truvy (Samantha Moores) welcoming the newly arrived but troubled young beautician, Annelle (Katie Griffin) to work with her. But this is more than a hair salon, it is a place of refuge that forges those that need it into ‘steel magnolias’ and where a group of local women come to share their close bond of friendship.
At the heart of the play is the story of Shelby (Jasmine Oates), a young bride-to-be who in spite of her Type-1 diabetes diagnosis, is determined to become a mother, and despite the attempts of her own mother, M’Lynn (Rachel Davies) to dissuade her. Support arrives from salon regulars Clairee (Sam Richardson), the wealthy and widowed ex-mayoress, and cantankerous Ouiser (Diane Glover) armed with well-meaning barbs.
Faced with the highs and lows of love and life, and amongst the chaos of work, marriage, children and bereavement, they tackle each other’s trials and tribulations as they unite to gossip, unwind and set the world to rights, showing what friendship truly means.
Moores avoids the temptation to get drawn into a Dolly Parton parody, with the exception of the big hair, and serves up her own well-meaning and believable Truvy whose wise counsel to the group is that there is no such thing as natural beauty.
Griffin gives depth and warmth to newcomer Annelle who discovers her own voice as she becomes a convert to religion in a strong yet subtle and often understated performance.
Oates bubbles over with effervescence and good humour before fate deals her a more difficult hand and she injects the necessary emotion to keep the audience full of hope. The interplay between her and Davies as her mother provides two strong and credible performances with Davies especially powerful in the final scene.
This is a dark comedy of sorts, so tragedy necessitates humour which is served up admirably through Glover’s gruff Ouiser and Richardson’s smart and sophisticated Clairee with wisecracks and more flying perfectly between them as they combine, whilst each bears their own respective cross with good spirit.
I wondered at the start whether the piece could have been reset to the North-West to avoid the challenge and demand of an accent I know only too well having spent considerable time in and around that part of America. I needn’t have worried as the strong cast were not only consistent with their southern drawl throughout, but they were word perfect with the particular pronunciations that it demands.
The set staging by Tony Dagnall and Les Dagnall was picture perfect, capturing the necessary busyness of the salon whilst allowing the cast to move freely, and the supporting sound effects caught the madness of background activities whilst a radio DJ (Mike Yates) chimed in at the right moments with tales of downtown suburbia and songs that supported the action on stage.
Ouiser’s declaration that ‘I do not see plays, because I can nap at home for free’ carries no weight with this moving and emotional production: it was engaging throughout and whilst it might bring a tear to your eye, you will leave with a smile on your face.
Steel Magnolias plays again on Saturday 25th March at 7.30pm and Sunday 26th March at 3pm. I hope that is not the last time we get to see it.
Coming next from co-company Individuality Youth is Alice in Wonderland which performs at Rainhill Village Hall between 7th and 9th July, further details https://www.ticketsource.co.uk/individuality-youth
Reviewer: Mark Davoren
Reviewed: 25th March 2023
North West End UK Rating: ★★★★