Jessica Moore, Pam Kobre, and Leslie Day in Steel Magnolias
Having been neither a resident of a small Southern community nor a regular at a hair salon, I can't say how accurate the ambiance and dialogue are in Robert Harling's imaginary Beauty Spot in Steel Magnolias. I don't know whether he's ever set foot in a real one. However, his vision has certainly struck a chord with audiences, locally and worldwide.
The play opened off-Broadway in 1987, had a big-screen adaptation in 1989, and a small-screen one in 2012 – even a 1990 sitcom-pilot sequel. It's been staged in several countries, at least four times locally, and is the Richmond Hill Barn Theatre's current offering. First-time director and backstage veteran Megan McConville has assembled an able cast and crew, and created an eye-pleasing, engaging experience with fine production values.
Jessica Moore plays Truvy, the mother-hen salon owner, with her regular customers as her brood – she's kind, capable, protective, yet confident enough to administer a peck or two when she feels someone is out of line. As many small-town hairdressers apparently do, she holds intimate knowledge of, and a lively interest in, her neighbors. Moore makes Truvy not only the ruler of the roost, but also likable. You'd want to have Truvy on your side – or, at least, not on the opposing side.
Some have mysterious pasts; shy Annelle, played by Megan Abell, has a mysterious present. Abell exhibited Annelle's apprehension skillfully, as well as her transformations as she tried on different personas throughout. Her accent was especially on target, and she played her actions and reactions at the perfect level for this intimate venue. Abell hasn't been on stage for years, but comes off as a pro. I admired her deft teasing, rolling, and comb-outs onstage … only finding out afterward that she's actually a hair stylist in real life.
Pam Kobre, as wealthy widow Clairee, radiates a serene, kind persona. Though refined, she occasionally makes lively pointed remarks, but so sweetly that it was impossible for me to be offended by them. Kobre has much stage experience at both area Barn Theatres – this one and Playcrafters' – and beyond exuding on-stage ease, her performance is effective.
Leslie Day portrays young Shelby at the start with smiles and excitement, as it's her wedding day. Shelby, like Annelle, changes throughout the play, and Day, too, embodies her character's evolution expertly. In the past, I've never liked this character, whom Harling based on his beloved sister. Shelby is low-key revered by the whole town, but I find her annoyingly self-involved and short-sighted. However, Day's characterization is the most sympathetically human one I've seen.
Shelby's mother M'lynn, played by Suzanne Rakestraw, is a steadying influence – the anchor of this group and her whole family alike – though she's also plagued by almost constant worry. Rakestraw plays the highs and lows of her life exceedingly well, and was believable the moment she stepped onstage. Rakestraw's features are strikingly similar to Day's, so their mother-daughter clashes are especially satisfying.
Heidi Hamer's permanently cranky, accusatory Ouiser ruffles feathers at a professional level – that's not her occupation, but rather a chosen vocation. Hamer has exquisite control over her facial expressions and whole-body physicality here, and her voice, delivery, and timing are perfection. Much of the time, she operates at a low-level simmer, and it's delightful to watch her fight to maintain her emotional temperature – and ultimately boil over. Ouiser is a character, to be sure, but never a caricature.
Steel Magnolias' actors did well employing accents, which were light, natural-sounding, consistent, and unobtrusive; just right for a little general flavor of the South onstage. (In addition to the show's six women, there's also an occasional, uncredited, male radio-announcer voice-over, which may have been a purchased recording.) However, Harling's play is set in Louisiana, and their inflections are not typical of that state.
Speaking of speech, during Act I, some of the performers had little variance in their line deliveries. Many sentences were spoken at the same pace, with near-identical emotion and inflection. More dynamic range and occasional pauses would've helped the flow. A muttered throwaway line, for example, can make a joke even funnier. Perhaps there'd been notes during rehearsals about slow cue pick-up and low volume. But McConville's cast recovered nicely, as the actors improved considerably in this regard in Act II – except for in one dramatic monologue, which was unfortunately rushed through. I would've preferred that the actor took her time with it, showing the struggle to express her emotions.
The set and props are lovely, as they usually are at this venue, and also as usual, a designer isn't credited. A challenging setting to plan and furnish, this version of Harling's beauty shop is attractive, boasting two stylists' chairs and a manicure station in the central playing area, plus a shampoo bowl and bonnet dryer separate from the main set in a corner. Another challenge, the show's hairpieces and wigs (their wrangler also uncredited), look great.
If you've seen Steel Magnolias, you'll still enjoy this production. If you haven't, you'll enjoy it for the first time. This is another mark in the victory column for the Richmond Hill Players.
Steel Magnolias runs at the Richmond Hill Barn Theatre (600 Robinson Drive, Geneseo IL) through June 8, and more information and tickets are available by calling (309)944-2244 and visiting RHPlayers.com.
