GIRLZ GONE MILD: Steel Magnolias at Dramatic License Productions
BY: ANDREA BRAUN - THEATRE ARTS CORRESPONDENT
"Find out what they like, and how they like it, and give it to ‘em just that way." Kim Furlow followed Fats Waller’s advice when she chose Steel Magnolias for the christening of Dramatic License Productions new home, the company’s second play but first in Chesterfield Mall.
Like Crestwood Court, unused shopping center space is being converted to oases of art (dubbed "Artropolis" here) in a commercial environment. There’s little live theatre in the far West County area, and a popular play that should attract that demographic seems like a fine idea.
Dramatic License has worked hard to create an attractive and functional space and has succeeded except for one crucial factor: The seating is uncomfortable, and the first few rows are on the floor so sightlines are a problem. Further back, they are raked, but not enough. I’m aware that there were some issues with county codes, so I imagine this inconvenience will eventually be ironed out. Another problem both Artropolis and Crestwood Court have is sound bleed. Since Crestwood is a virtual ghost town, it’s not much of an issue, but there are actual people—and noisy kids—at Chesterfield. Anyway, there’s a play to review, so, moving on. . . .
I decided not to include "spoilers" here, though I think every woman over 30 (and many under) and a sizeable number of men (straight guys too!) have seen the movie. It is one of the titans of the chick flick canon. In fact, I’d be surprised if much of the audience isn’t running the film in their heads while the play goes on in front of them. But I’m going to concentrate on these "magnolias," not the cinematic ones, after I mention one big advantage the film has, and that is its capacity to use multiple locations to open the story up.
The stage version is limited to one set, Truvy’s Beauty Shop, and it becomes a bit claustrophobic at times, though the space is cleverly used with a well-worn comfy sofa in the center and the accoutrements of hair, makeup and manicures surrounding it. This is the late 1980s, and the costumes reflect that. Unfortunately, for the most part, the feminist movement seems to have passed these women by, especially Shelby (Stephanie Brown) a young bride. She’s also the daughter of Truvy’s (Laurie McConnell) Saturday morning regular, M’Lynn ( Kim Furlow). As the play opens, they are at the shop getting prettied up for Shelby’s wedding that day to the unseen Jackson. None of the men are present corporeally, only as the women present them, which could account for the story’s ongoing popularity. But in talking about the men, they reveal their lack of cognizance of feminism. The men are variously lazy, obsessed with guns and sports, and seem to be overbearing. And yes, I know the women are Southern, but geography isn’t destiny, and female bonding over their "crowning glory" isn’t a particularly effective metaphor.
The other regulars are also present: the mayor’s recent widow, Clairee (Donna Weinsting); the terminally unpleasant and longtime BFF of Clairee’s, Ouiser (Sally Eaton), and a young woman who came in and was hired that very day, Annelle (Colleen Backer). Annelle has no experience, but big hearted Truvy wants to help her because she’s down on her luck.
The women chatter away happily until it becomes clear something is wrong with Shelby. It comes out that she is a severe diabetic and has been advised not to try to bear children because of her health. Her fiancé has agreed that they can adopt and the wedding goes on (offstage) as scheduled, with all 9 bridesmaids and a plethora of pink, Shelby’s signature color, another heavy-handed feminine trope alluding to her imminent deflowering, as well as her partiality to a color associated with childhood.
We learn more about Annelle who becomes born again and takes to praying rather intrusively, which discomfits some of the others. Colleen Backer is recognized as one of the best young actors in town, but I’m going to have to finally just come out and say it: It seems to me as if she always does the same thing. She pitches her voice high (cute) and relies on a certain physical schtick. I know that she is probably often hired because of her signature style, but I’d love to see her work with a director who’d explore her range. I just know there’s more to her talents than what we’re seeing when she’s typecast.
Brown is capable but doesn’t make much of an impression as Shelby. That’s not necessarily her fault though, because dramatic as Shelby’s situation is, it’s not much of a part. It’s hard to sympathize with her decisions, as well. Furlow has some fine moments as the lynch pin of the group, but she didn’t seem to be fully invested in the character during the performance I saw. Both she and Brown blew lines more often than they should have. Furlow is an accomplished artist who certainly can be, and nearly always is, better than this. McConnell has all the right moves for the tacky Truvy who chomps her gum and smiles away while snipping and teasing, but she doesn’t own the part sufficiently to come off as important in her own right.
Weinsting and Eaton are the stars of this show. It helps that they have most of the good lines, but their timing, delivery, interaction with the others, and their ability to create multi-faceted characters out of what could easily have been just stereotypes is worthy of our attention, and our applause. They are up there showing us how comedy is done, then turning on an emotional dime when the situation requires it.
Annamaria Pileggi has directed many shows I’ve admired, most recently Glengarry Glen Ross for Hot City. She seemed more proficient working with testosterone than estrogen, but she also had a stronger script from David Mamet. Playwright Robert Harling makes a strong plea for our emotional involvement in Steel Magnolias, but it’s hard to give him that because he has, I believe, tempered the steel too much. The technical stuff is done right, and the show looks good except, no matter the time of day, it’s always dark outside the windows. In the end I don’t find it to be play that holds up to the passage of time or the exercise of close scrutiny, but it does provide an entertaining evening of theatre with some of St. Louis’s best and best known performers.
Steel Magnolias runs through February 20 at Dramatic License Productions’ space in the Chesterfield Mall. For information, you may call 636-220-7012 or visit
