RR LogoSteel Magnolias and Muses Create Plenty of Humor and Lots of Drama

Steel Magnolias Photo OneI am guessing that a lot of people who attended the performance of Steel Magnolias, a play by Robert Harling and directed by Marilyn Nicholas-Dahan, presented by Calliope Sound Productions’ Muses at the University of Toronto’s Erindale Studio Theater probably had some familiarity with either the play or the film and therefore they knew what to expect, but not so for this reviewer. When you are critiquing a play that is wholly dependent on the relationships that exist between six women and that is set entirely in a beauty salon, it is a good thing to have little prior knowledge of the story as it unfolds, because it allows one to approach the play objectively and to remain sensitive to the stories behind the story.

To be honest for the performance that I attended, the first half of scene one was emotionally flat, but then two things happened that injected life into this production and seemingly into the other actors. The most significant thing that happened was the appearance of Helen Conway in the role of Ouiser, a cantankerous, Louisiana woman who barely gave you time to recover from one bout of laughter when she would zing you with another comedic line or facial expression. What an absolute treat to watch this woman perform. In all of the years that we have reviewed theater from San Diego, to Los Angeles to Vancouver to New York and Toronto, it is very possible that Helen Conway’s performance was the funniest of any actor we have watched on stage. The dramatic tension between Ouiser and Clairee (played by Lori Koenen) was superb and what on the surface often appeared to be contempt for one another, merely disguised what was a deep friendship that spanned decades and two friends who simply go on one another’s nerves from time to time. Ouiser would be the crotchety one, while Clairee would be the exasperated individual who at times egged Ouiser on just for the pure enjoyment of winding up her up for another round of contemptuous and outlandish remarks.

The appearance of Katherine MacKenzie as the young diabetic woman Shelby who is engaged to be married, energized this play, but in a much more subtle way. We have watched MacKenzie perform in several other productions, including a minor role in a poorly directed and choreographed production with another theater troupe earlier in the year and when she shines most is when she is in a quality production like this rendition of Steel Magnolias and she is given a meatier role. She is maturing as an actress, learning to let less be more. Katherine MacKenzie’s eyes, facial expression and body language often spoke louder than the lines that she delivered. During the course of this play Shelby experiences the joy of her engagement, a strained relationship with her mother M’Lynn, excellently portrayed by Nancy Reed, during Shelby’s pregnancy, frustration with her husband and a sense of gratitude in the face of significant challenges during the later stages of the play. MacKenzie as Shelby became someone that the audience fell in love with, because of her heart. She always remained in character in the moment even when there was a lot of excitement created by other characters and she was not directly involved in the scene.

There is no way to pay proper tribute to the performance of Nancy Reed without somewhat spoiling the storyline for the reader. Reed, as M’Lynn accurately portrays the concern a loving parent has for their child’s wellbeing and in the final stages of the play her anger, due to a tragic event is believable and the intensity level is very accurate.

Mary Lynn Merklinger does a good job with her character Truvy the spacey beauty shop owner and Susan Turnbull is equally adept, as Annelle, Truvy’s new space cadet. The playwright Robert Harling did well to insert these characters into the storyline, because they provide balance, humor and keep the play from becoming dark. Lori Koenen’s character Clairee is reminiscent of so many Betty White characters we have seen over the years and Koenen does a good job of bring that sensibility to this role.

Harling gave his character Ouiser some memorable lines, such as the one she serves up when remember an old lover who enters her life once again. Of Owen Jenkins she says, “He had the longest nose hairs in the world.” At another point during the play, Ouiser has the audience rolling with, “I’m not crazy. I’ve just been in a very bad mood for forty years.” What writing these lines here does not allow the reader to do, is to experience the wonderful facial expressions of Helen Conway, as she is delivering those lines.

Steel Magnolias is being presented at the same venue at 8 p.m. August 14th to 16th and Riveting Riffs Magazine highly recommends that you take in this production. While the venue is Spartan in nature, the acting is as good as it gets.

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This review by Joe Montague  published August 12th, 2014 is protected by copyright and is the property of Riveting Riffs Magazine © All Rights Reserved.  Photos courtesy of Calliope Sound Productions's Muses and are protected by copyright ©, All Rights Reserved This reviewis may not be reproduced in print or on the internet or through any other means without the written permission of Riveting Riffs Magazine, All Rights Reserved