Orlando theater review: Theater West End's revival of emotional roller coaster 'Steel Magnolias' runs through March 3

It might be tempting to dismiss Robert Harding’s 1987 melodramedy Steel Magnolias — best known for its Oscar-nominated adaptation featuring Sally Field and Julia Roberts — as a manipulative hybrid of Southern-fried sitcom and Lifetime tearjerker, one that practically defines the phrase “chick flick.” But in order do that, I’d have to disingenuously discount the dearth of dry-eyed audience members of any gender during Theater West End’s new production (now through March 3), an emotional roller coaster that made my cheeks moist with both mirth and mourning — sometimes within the same minute.

Warm-hearted Truvy (Stefanie Diaz) runs a home hair salon with her mousy assistant, Annelle (Zoe Lin Rosas), which serves as a hub of female networking in rural Louisiana, attracting clientele like the patrician Clairee (Cynthia Beckert) and her irascible frenemy Ousier (Krista Miller) with shellac-sprayed styling and spicy gossip. Truvy’s comeliest customer is the saintly Shelby (Rachel Comeau), a blushing bride whose bickering banter with her worrywart mother, M’lynn (Kristie Geng), belies her looming health crisis. I won’t give away the heavily foreshadowed ending, but just brace yourself for the laugh-to-sob ratio in each act to flip-flop abruptly as the end approaches.
The credit for making those jarring jumps jell goes to director Laurel Hatfield, who assembled an exceptional all-female ensemble whose tick-tock comic timing resembles that of a long-running television cast. Each performer gives their already iconic roles fresh energy, and all beautifully support their fellow actors’ spotlight scenes. However, the show’s clear standout dramatic performances are delivered by Comeau, whose subtle depiction of Shelby’s gradual deterioration demonstrates masterful physical acting; and Gang, whose gut-wrenching final soliloquy generates a solemn spell that’s only shattered by Beckert and Miller’s outrageous response.

The march of time has transformed what was once a contemporary tragedy (directly inspired by the playwright’s own sister) into a period piece. Luckily, scenic and lighting designer Derek Critzer, props designer Reme Elias, and painter Bonnie Sprung have meticulously re-created a Reagan-era hair parlor — down to the egg-shaped hairdryer chair — for the actors to literally immerse themselves in. I have a few technical nits to pick with the production, including over-amplified dialogue, slow transitions and distracting wigs. But if (as Truvy says) “laughter through tears” is your favorite emotion, you should secure seats for Steel Magnolias and stock up on extra tissues.



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