Seattle Review: Steel Magnolias

Surprisingly, when I walked into the Village Theatre for their current production of Steel Magnolias, I had never seen the show in any form; neither the stage nor the film version. it's quite a surprise, since this is such a popular show and movie. And after seeing a darn good production of it, I can see why. Robert Harling's Off-Broadway hit, Steel Magnolias takes place in a beauty sallon in Louisana, with six fiery women talking about life, love, and hair.

It's amazing that Harling wrote the script, as it is so connected with a female audience (I spotted maybe three men in the house, and it was obvious they were all drug there by their wives). With the scripts talk of PMS, pantiliners and nail polish, you wouldn't expect the show to be written by a man. But the script is not without it's faults. Though very funny, at times, the show is essentially two hours of one liners, with a few touching monologues thrown in for good measure. The show ends up being sappy and emotional, and by the last 10 minutes half the crowd is in tears. The show is not really a gleaming piece of theatre, but it's not trying to be. Whenever the script gets to a point where it can take a stand on something, it pulls back the reigns and doesn't pick a side. But the show isn't out to change the world, it's simply out to make a lot of women laugh and cry and enjoy themselves, which is what it does.

Director Jeff Steitzer, a gifted comedian himself, has super-charged this production with both laughs and an amazingly talented group of actresses. As the center of attention and bride-to-be, Kathryn Van Meter makes a sparkling Shelby, all the time likable and confident. Her Shelby is near-perfect, with a strong will and winning intentions. As her mother M'Lynn, Marianne Owen takes the role and runs with it. Acting as the "straight-(wo)man" in most the scenes, Owen shines at all times. She is equally comfortable with her dry comedy as with the dramatic climax of the second act. Laura Kenny is the ideal Ouiser, and the remarkable part of this cast. While all ladies are well indeed, Ms. Kenny is perfect in every way. She zings every one-liner and pulls guffaws out of nearly every line. But Kenny also knows when to turn it off, which is a very good thing, considering that her monumental presence can easily overtake any scene. Ellen McLain makes a wonderfully quirky Clairee, and has a great time butting heads with Kenny. In the two most underwritten parts of the show, Jayne Huirhead (as Truvy) and Susanna Wilson (as Annelle) both do fine with what they have, but seem wasted in these blah roles.

Richard Lorig's scenic design fits the mood perfectly, and really takes one back to the 80's and a small-town beauty salon. His homey shop is just what the script calls for and is very handsome. Linda Ross, with a mile-long list of credentials, does her bio well with her distinct and attractive costumes. They capture each of the ladies' personas perfectly and fit the time period splendidly. And though I hardly ever notice sound design, unless it's awful, Don Litrell's sound effects are right on the money. Also kudos to Douglas Decker for the surprising amount of wigs.

This production comes just before a revival is to open on Broadway starring a slew of well-known ladies (including Delta Burke and Christine Ebersole). It seems that their producers might want to take a look at some of the cast of Village's production for future replacements. Yes, it was that good.

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