Steel Magnolias

Unfairly described as a classic tearjerker by some, Steel Magnolias centres around female friendships in a small Louisiana town; simply put: the highs and lows of life, the absolute normal, and a tragedy. It’s not, however, simple. Robert Harding’s own sister inspired the story, which is why it perhaps feels so real and truthful, the women’s language to each other, unmistakably deep South, all feel so natural and authentic. However, it needs an exceptional cast to deliver this, one where you can feel the real friendships, the real relationships, and they need to be compelling and believable. And this is truly an exceptional cast delivering this touching, emotional, deeply poignant and personal saga from each character’s point of view. The six actors do an incredible job of portraying these women so well that you honestly believe every single thing that’s happening to and around them. 

The set is incredible: we are immediately in a Southern beauty parlour in the 1980s, full of personal touches like a tray of sweets on the table, and period magazines on the low cupboards. A real hairdressers wash basin is one end with running water which Annelle uses to wash hair. A portable radio appears after it is gifted as part of the plot which needs to be hit on occasion to work – which it does on command: a tricksy tech thing to accomplish. The sound comes from the radio as well rather than piped in which is a lovely touch. Cut hair appears around the chairs as part of the story between Act one and two which again is a lovely touch – as is setting the play in the traverse, where the staging completely accounts for it, and no matter what side you are on you never feel left out of the action on stage. 

Sarah Edinburgh has the unenviable task of opening the play as the first to speak as Truvy and try and get the audience used to the Southern American accents: she does a brilliant job. There are echoes of Dolly Parton in the intonation, and while her creation of Truvy is her own this noted homage to the originator of the role on film is a lovely thing. All the accents are maintained throughout, while making them accessible to the audience: not an easy task, but they did it with seeming ease. Charlotte Moroney is outstanding as Clairee: having all the power in the room whenever she is in it, but with ease and fluidity not bombast; as if she’s just behaving as the natural order of things. Her comedy timing is perfect, as is her emotional pitching: her reaction to M’Lynn at the end with a tear is such detailed work it is a joy to see, as is her using Ouiser as a target in perfect comedy timing which cuts the tension letting everyone on stage and in the audience breathe. Such gorgeous characterisation work, from them all. 

Isobel Stoner is a revelation as Shelby: an absolute knockout performance. Julia Roberts originated the character on film in one of her earliest standout roles yet Isobel’s performance is more real and grounded, giving Shelby depth and strength, making her performance all the more enjoyable and better all round. Emma Lindfield plays M’Lynn with more fight and less sugar than we are perhaps used to this character having: it’s a fascinating choice, and it makes the relationship between mother and daughter a very real and almost palpable dynamic which is gripping and riveting to watch. It also makes the breakdown at the end all the harder: her reaction is so real, where all her walls come tumbling down, all her defences of being the strong one holding everything together. Watching Emma react to Shelby’s great news while the others congratulate her was a truly stunning piece of work, such detail in her tear filled but not brimming over eyes. Exceptional. 

Tallulah Edinburgh’s Annelle is sweet and naive and curiously not irritating, which is unusual, and something we can be thankful for. Patti Griffiths Ouiser is hilarious, the gruff and grouchy woman who has a secret heart of gold, when you can find it! She has some of the best lines in the play, of which there are many standout quotable lines, and she delivers them with truth rather than for laughs. The one causing hilarity for the longest was, understandably, “I don’t go to plays because I can sleep at home for free”, delivered deadpan. Each of the actors does a stunning job, they work so well together, showing the depth, feeling and friendship they have for each other.  

The costumes, hair, wigs and makeup are perfect. Absolutely right for the period and for the characters. Shelby always in shades of pink, her signature colour, and Clairee’s stunning monied outfits. Hair, considering this is set in a beauty parlour, is fabulous. Watching Truvy put up Shelby’s hair for the wedding that afternoon, adding pink roses and the argument-inducing baby’s breath, is truly fascinating to watch, and the end product is gorgeous. Similarly watching Annelle put curlers carefully in M’Lynn’s hair (actually a wig) is so well done. Truvy’s wig is almost bigger than her, which is exactly right. 

There are some lovely radio moments from the “local” radio station which sound super, including the starting of the play announcement; and other scene change and radio music which at one point includes Dolly Parton, which is a lovely acknowledgement. The only piece which might take people out of the moment is hearing ‘The Dueling Banjos’ which is so fixedly associated with the film Deliverance that it’s unlikely to be heard anywhere else: this is the only odd thing in the entire production.  

This is a stunning, superb production from start to finish. They more than do justice to the writing, they elevate this to something special, making it as relevant now as it was in the ‘80s. The acting is sublime; the direction is exceptional. A brilliant production of a true classic, which never copies the film which so many people know so well, yet makes the story their own. Huge congratulations to Director Richard Lindfield and everyone involved in this production; one that is majestic.

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