Review: Desert Theatreworks Presents a Top-Notch Production of STEEL MAGNOLIAS

Palm Desert's Desert Theatreworks gambled in producing Robert Harling's STEEL MAGNOLIAS, because it is a well-known play that became a hit movie, and many audience members are likely to be familiar with previous interpretations. The 501(c)(3) nonprofit community theatre won its gamble - spectacularly so. The six women in the ensemble cast (plus an off-stage male radio announcer, played by Tanner Lieser) consummate their roles with grit and heart; in my opinion, the performances of each and every one of them, as well as the direction of Lance Phillips-Martinez, equal the best on Broadway.

The entire play takes place at various seasons in Truvy's beauty salon, in fictitious Chinquapin Parish, in northern Louisiana. Truvy's middle to upper class clients all know each other intimately and demand every bit of gossip that anyone has learned about anyone else. As one woman puts it, if another doesn't have something nice to say, come sit by her.

At the beginning of the story, Truvy (Lee Rice), is doing Shelby's and her mother's hair (Briana Taylor and Daniela Ryan, respectively) for the headstrong Shelby's wedding later that day. All should be joyful, but Shelby reveals that she almost broke her engagement because she has just found out that she shouldn't have children because of her diabetes. Also, new employee Annelle (Phylicia Mason) finds all the wedding talk disturbing - her husband has run off with everything they owned. Meanwhile, the wealthy and sophisticated Clairee (Shirley LeMaster), a woman in her late sixties, who was happily married to the mayor, is having troubles adjusting to her new role as widow. Ouiser, pronounced "wheezer," (Rebecca Hertsgaard), an eccentric millionaire, out-glooms Eeyore the donkey and insults everyone, but when push comes to shove, she drops her shell and becomes part of the circle. The women's relationships with each other are filled with sniping and bickering, but when one of them needs anything, the others are there immediately.

STEEL MAGNOLIAS arose from the playwright's grief after his sister died at a young age from diabetes-related complications. The play opened off-Broadway in 1987, became a hit movie in 1989, had a limited run on Broadway in 2005, and became a television film in 2012. The "Magnolia" part of the title comes from the myth of Southern white women as delicate flowers whose men must take good care of them. Women often played along with this myth to avoid hurting the mens' feelings, but they knew the truth. Their bond with other women was made of steel, as was their strength. (The 2012 film, which featured African-American actors in the lead roles, probably should have changed the title; black women in the South never had the luxury of being magnolias.)

STEEL MAGNOLIAS is a "she show," meaning that the story's primary audience is likely to be female. However, any man who has known strong women - especially strong Southern women - will probably nod in recognition at the characters on the stage, although he might blanch at the actions of some of the frequently discussed men in the characters' lives.

The ensemble cast manages to bring each of the characters to life as unique women, and avoids the trap of creating caricatures. The actors play off each other brilliantly. When Shelby has an insulin attack, the other women rush in exuding concern as if there really were a medical emergency. When Annelle steps aside to pray, they respond with just the right amount of worry about what Annelle might be telling God about them. In one dramatic scene, Clairee breaks the tension by grabbing Ouizer and offering another character the opportunity to slug Ouizer. One character has a very emotional scene in which she goes back and forth between laughter and tears. I felt almost as if I were intruding on her private distress. Each individual in the production seems to become the character she is portraying; it is almost impossible to tell that they are acting. Others in the audience also seemed heavily invested in the strong emotions being portrayed on the stage - at least one individual behind me sobbed loudly during the last scene.

As usual for Desert Theatreworks, the set, designed by Ron Phillips-Martinez, Desert Theatreworks' executive director (who also served as costume designer), was extraordinary. He obtained hair dryers slated for a salon's junk pile, and borrowed actual hairdressing chairs. The salon has a front door, a hairwashing sink, a counter, and a book case decorated with tchotchkes. The costumes are equally clever - the audience can see the characters' personalities from their clothes. I especially liked Annelle's progression from a mousy dress to garish flowered stretch pants and hot pink eyeglass frames to a demure, but fashionable, pair of pants and tee shirt. Ouizer shows her holiday spirit with a sparkly silver design on her shirt - on a black background. M'Lynn and Shelby are a study in contrasts - Shelby is fashionable, while her mother has no eye for clothing. The detail shows that Ron Phillips-Martinez spent a great deal of thought and energy on dressing the characters and designing their surroundings - thought and energy that round out the production.

Shirley LeMaster served as dialect coach, as well as portraying Clairee. Ms. LeMaster did a fine job, as did her students; I did not hear any of them drop their dialects even through their most emotional scenes, as often happens even on professional stages.

Although there were no mishaps at the performance I attended, Ron Phillips-Martinez told me that the light board went out during the premiere night, plunging the stage into darkness. While his husband (Lance) was repairing the board, the actors elected to keep going, and incorporated the power failure into the dialogue, with comments along the line of "Why, Truvy, your lights have gone out again," and "It's difficult to style hair in the dark, but I'll try." The fact that the performers could work through such a problem without its throwing off their concentration is another testament to the ensemble's professionalism.

Anyone who abhors a tearjerker may want to stay away from Desert Theatreworks' production of STEEL MAGNOLIAS, because the ending is tragic - I even had bad dreams about it - but if you decide to pass, you will miss an amazing few hours of theatre.

The rest of the crew consists of Lance Phillips-Martinez (lighting and sound); Kitty Garascia (stage manager, costumes, and hair); Tanner Lieser (assistant stage manager and lighting); DeLane Marianowits (light board operator); Angus Feath (sound board operator); Violet Feath (stagehand); Priscilla Lawton (props); and Daniela Ryan (makeup).

STEEL MAGNOLIAS will run through November 8, 2015, at the Arthur Newman Theatre, in the Joslyn Center, 73-750 Catalina Way, Palm Desert CA, 92260. Show times are Fridays and Saturdays at 7pm, and Saturdays and Sundays at 2pm.

Tickets can be purchased online at www.dtworks.org, in person at the Joslyn Center, and by phone at 760-980-1455. General admission is $26; senior admission is $24, and student admission (with i.d.) is $16.

Season tickets are still available in person or by telephone or the Internet.
Groups of 8 or more should call the box office at 760-980-1455 or buy tickets in person.

Desert Theatreworks' 2015-16 Season continues with:

A CHRISTMAS CAROL
A new, musical version of the grand holiday favorite.
December 11-20, 2015

LAUGHTER ON THE 23rd FLOOR
Neil Simon's autobiographical comedy.
January 29-February 7, 2016

CLUE THE MUSICAL
Based on the popular board game with over 200 possible endings.
March 11-20, 2016

OTHER DESERT CITIES
The Broadway family drama set in Palm Springs.
April 8-17, 2016

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