I’m crazy about the new venue. So intimate, it feels like you are all mixed in among the characters. It was true during Fiddler on the Roof. The actors began to wonder onto the stage a few at a time and it was like arriving in a new town early in the morning and watching it come to life around you.
And it was especially true during Steel Magnolias. So far as I knew, I was sitting in Truvy’s shop, among that lively bunch of wild and familiar women waiting for my own turn in the chair.
From the time Truvy walked into the beauty shop, adjusting her more than ample bosoms, slathering a new coat of lipstick over the old one, and varnishing her bleached blonde locks with enough Aqua Net to create her own personal ozone hazard, I knew it was going to be a fun evening. She dished up plenty of wisdom with her beauty treatments, just like most hairdressers I’ve known, but she also had the good grace to laugh at herself, and pretty much everyone else.
And boy did we laugh!
We laughed at Annelle whose every action screamed the fact that she was uncomfortable in her own skin. Over the course of the next couple of hours, she would blossom, in fits and starts. But that hunger to fit in, to be liked and accepted was ever a palpable reality. So much so that I was astonished to see the actress afterward and observe that she was nothing like her character.
We laughed at Clairee whose polish and good manners, confidence and subtlety, did not for a minute hide her vivacious interior. Instead, it gave it precision and potency. Her humor always took me by surprise. A truly elegant Southern lady AND an untamable spitfire.
We laughed at Shelby who we first met on her wedding day. Shelby who arrived in curlers with a bag of baby’s breath and a magazine picture of Grace Kelly. Shelby who, for all her lithe, sweet, pink prettiness, possessed within her the iron will she had absorbed from these strong women. Shelby whose wedding colors were blush and bashful. Feisty, mischiefmaking Shelby.
We laughed at M’Lynne whose matter-of-fact humor frequently bordered on sarcasm, but was too Southern to dip over the edge. We laughed at her husband who was out that morning shooting all the birds out of the trees.
We laughed at Ouiser before we even saw her. At dinner, friends and I predicted that Nan Gurley would incarnate Ouiser. And we laughed just imagining how she would play her. It was so much better than we imagined. Ouiser with the outlandish fashion sense and psychotic dog. Ouiser who has been in a bad mood for forty years. Ouiser who people are nice to only because “I have more money than God.” Ouiser who decides to go have her colors done?! Ouiser who will be offered as a punching bag in a moment when we all really need a good laugh.
Woven all in and through the laughter are strands of memory and difficulty and hard things that have been weathered and walked together. There is a love and a belonging. There are the things that don’t have to be said because they are understood by all.
Some of the most poignant moments came at the mirror. A mirror is a very vulnerable place. In this production the audience sat just back of the “mirrors”. So when one of the women had the moment of considering herself, the way she looked or who she was (and maybe those are too tangled up most of the time) we saw it. For a space, I had this feeling it was only she and I in the room. It was raw and exposed, intensely intimate and tender.
If you know the story, you know that it takes an excruciating turn. This was powerful in the extreme. It was played with restraint, not manipulative or sentimental. But deeply honest. And the honest wrestling, the yearning to make it somehow make sense, the uncomfortable place of not knowing what to do or say or be was so true that it pierced me to the heart. All the sorrow and longing I have ever known seemed to be connected to that moment.
Steel Magnolias is a profoundly human story. Southern women, to be sure, are their own peculiar brand of human. But anyone who has lived life, truly and deeply, will find parts of their story in here.
I highly commend to you Studio Tenn’s performance of this wonderful work. It is intimate and artistic, cleanly and beautifully articulated. I have seen a great deal of theater in my life, and this was, without a doubt, one of the most moving experiences.
You have nine more opportunities this weekend and next. Buy tickets HERE.