Steel Magnolias
Sun, 16 Mar 2003, 01:21 amWalter Plinge7 posts in thread
Steel Magnolias
Sun, 16 Mar 2003, 01:21 amWHAT: Steel Magnolias
WHEN: Friday, March 14 (2003)
WHERE: Harbour Theatre, Fremantle (WA)
Well, it got me again. I know, I know, it's the consummate Chick Flick, but I have a soft spot for Steel Magnolias. I must have seen it a dozen times, but it always brings a tear to my eye and a smile to my face. (How was that? Chicks love it when guys get all sensitive and @!#$.)
It's an ensemble piece for six actresses with some of my favourite one-liners and, to my mind, the best tension-breaking line I've ever heard. It's been a few years since I saw it last, but even though I knew a lot of what was coming, it still has its screamingly funny moments intermingled with touches of heartbreaking poignancy.
Rosemary Longhurst played the dream role of Clairee, with most of the script's most biting lines - including the aforementioned "world's greatest tension breaker". Clairee runs the risk of being a sarcasm-robot, sitting in the corner delivering the occasional put-down. However, Rosemary gave equal importance to Clairee's football obsession, radio station anecdotes and family reminiscences. A performance that was obviously both fun to do and fun to watch.
Clairee's mortal enemy and lifelong friend is the cantankerous Ouiser (Mavis Glewis). Stealing just about every good line that Clairee didn't already take, Mavis was also having enormous fun. Is there anyone out there who hasn't heard her ultimate backhanded compliment: "He's a real gentleman - I bet he takes the dishes out of the sink before he pees in it." To be picky, Mavis had occasion once or twice not to know what to do with her hands - the nervous finger wiggling and body language went against Ouiser's steadfastness and belligerence. Sorry to be finicky - it was probably just Opening Night nerves.
Clairee & Ouiser are just characters (in every sense of the word) in the Beauty Salon where the play is set. The production actually centres around Shelby - her imminent wedding, subsequent attempts to fall pregnant, and consequent health problems after giving birth. The role that shot Julia Roberts to world-wide stardom needs to be treated with respect. Like Tracey Small, Amanda Crewes and Charlotte Simmonds before her, Vanessa Harding did not disappoint.
I was transfixed by Vanessa in Harbour Theatre's production of Antigone and was inspired yet again. (Same photo in both programmes, Vanessa? Oh well, if Bronwyn can do it....) Yes, yes, I have a well-documented weakness for redheads. We had to see this play on Friday because Gillian Anderson is a guest on Parkinson on Saturday night. Nevertheless, stunning beauty aside, Vanessa presented a strong performance - whether standing up for herself with indomitable will, or just sharing a laugh and a joke with the others. Lovely costume choices too. A joy to watch, and I'd pay money to come and see the show again if she wore Shelby's pink negligee for the Curtain Call. :-)
Speaking of gorgeous young actresses, Taneal Boydell was hot for a 40+ trainee hairdresser (well, the programme said she started acting in the Goldfields in 1977). With those long, shapely legs encased in black lacy tights, then sheer black stockings, she looked a lithe 20 year old. I was very impressed with her energy on stage, from the opening line to her long-awaited smartass comeback, "Not on your first visit." Perhaps the best of the performers as far as volume and projection goes, she also handled the accent unfalteringly (as far as a non-expert like myself could tell). I enjoyed her initial nervous portrayal, both in voice and body, as the new girl in town (Annelle) and her gradual growth and acceptance as a fully-fledged member of the group. Also loved that red suit (and did I mention the black stockings...?)
There were a few line problems on the night I attended, but again, it was may have been just Opening Night nerves. I probably only noticed because I know the play so well. I would've liked the scene changes to be a bit faster, particularly as the set changes were insignificant, but I realise a lot of it depends on costume changes. (Do you need a dresser backstage?) Another personal opinion: I thought the compulsory and extremely catchy closing music could have been a bit louder at the end of the play. It makes an important point and shouldn't be lost in the bustle of the departing audience. Selfish it may be, but I never tire of hearing it.
Thanks to director Bronwyn Pearson and Harbour Theatre.
JB
WHEN: Friday, March 14 (2003)
WHERE: Harbour Theatre, Fremantle (WA)
Well, it got me again. I know, I know, it's the consummate Chick Flick, but I have a soft spot for Steel Magnolias. I must have seen it a dozen times, but it always brings a tear to my eye and a smile to my face. (How was that? Chicks love it when guys get all sensitive and @!#$.)
It's an ensemble piece for six actresses with some of my favourite one-liners and, to my mind, the best tension-breaking line I've ever heard. It's been a few years since I saw it last, but even though I knew a lot of what was coming, it still has its screamingly funny moments intermingled with touches of heartbreaking poignancy.
Rosemary Longhurst played the dream role of Clairee, with most of the script's most biting lines - including the aforementioned "world's greatest tension breaker". Clairee runs the risk of being a sarcasm-robot, sitting in the corner delivering the occasional put-down. However, Rosemary gave equal importance to Clairee's football obsession, radio station anecdotes and family reminiscences. A performance that was obviously both fun to do and fun to watch.
Clairee's mortal enemy and lifelong friend is the cantankerous Ouiser (Mavis Glewis). Stealing just about every good line that Clairee didn't already take, Mavis was also having enormous fun. Is there anyone out there who hasn't heard her ultimate backhanded compliment: "He's a real gentleman - I bet he takes the dishes out of the sink before he pees in it." To be picky, Mavis had occasion once or twice not to know what to do with her hands - the nervous finger wiggling and body language went against Ouiser's steadfastness and belligerence. Sorry to be finicky - it was probably just Opening Night nerves.
Clairee & Ouiser are just characters (in every sense of the word) in the Beauty Salon where the play is set. The production actually centres around Shelby - her imminent wedding, subsequent attempts to fall pregnant, and consequent health problems after giving birth. The role that shot Julia Roberts to world-wide stardom needs to be treated with respect. Like Tracey Small, Amanda Crewes and Charlotte Simmonds before her, Vanessa Harding did not disappoint.
I was transfixed by Vanessa in Harbour Theatre's production of Antigone and was inspired yet again. (Same photo in both programmes, Vanessa? Oh well, if Bronwyn can do it....) Yes, yes, I have a well-documented weakness for redheads. We had to see this play on Friday because Gillian Anderson is a guest on Parkinson on Saturday night. Nevertheless, stunning beauty aside, Vanessa presented a strong performance - whether standing up for herself with indomitable will, or just sharing a laugh and a joke with the others. Lovely costume choices too. A joy to watch, and I'd pay money to come and see the show again if she wore Shelby's pink negligee for the Curtain Call. :-)
Speaking of gorgeous young actresses, Taneal Boydell was hot for a 40+ trainee hairdresser (well, the programme said she started acting in the Goldfields in 1977). With those long, shapely legs encased in black lacy tights, then sheer black stockings, she looked a lithe 20 year old. I was very impressed with her energy on stage, from the opening line to her long-awaited smartass comeback, "Not on your first visit." Perhaps the best of the performers as far as volume and projection goes, she also handled the accent unfalteringly (as far as a non-expert like myself could tell). I enjoyed her initial nervous portrayal, both in voice and body, as the new girl in town (Annelle) and her gradual growth and acceptance as a fully-fledged member of the group. Also loved that red suit (and did I mention the black stockings...?)
There were a few line problems on the night I attended, but again, it was may have been just Opening Night nerves. I probably only noticed because I know the play so well. I would've liked the scene changes to be a bit faster, particularly as the set changes were insignificant, but I realise a lot of it depends on costume changes. (Do you need a dresser backstage?) Another personal opinion: I thought the compulsory and extremely catchy closing music could have been a bit louder at the end of the play. It makes an important point and shouldn't be lost in the bustle of the departing audience. Selfish it may be, but I never tire of hearing it.
Thanks to director Bronwyn Pearson and Harbour Theatre.
JB
Re: Steel Magnolias
Sun, 16 Mar 2003, 01:37 pmWalter Plinge
I saw "Steel Magnolias" on opening night and I agree with most of your comments - In hindsight Mavis *was* a little nervous in terms of her body language - oh well, opening night nerves perhaps :-)
I must say though I thought you made a big oversight in not mentioning Katherine English in her role as M'Lynn (I think that's the right spelling).
Steel Magnolias is one of my favourite plays/movies as well. And loving its humour as much as I do, it's easy to get caught up in the machinations of Ouiser and Clairee - especially in their interplay after M'lynn's emotional outburst - which are of course highly hilarious.
However, the thing that gives that scene such power and tension *IS* that emotional outburst by M'Lynn. In retrospect this is possibly the most demanding role of the play and possibly one of the most important.
Granted, comic timing is very important for any actor and to really get the best out of any comic role you need to have that certain finesse. And yes, M'Lynn's role in the play is more of a 'straight/foil' one. But think about it, this is one hell of a straight role to play!
The emotional power in the final act comes from a progression in emotions. If Katherine hadn't had done a totally believeable job in creating that tension, the effect of Clairees line : "...here, hit this!" wouldn't have half its power. You're right, It's the best line in the play because of the release of the built up tension. And it's M'lynn that creates that tension. Take away that character in that scene or diminish the emotional impact of her outburst and you're left with little but a bunch of witty and bitchy quips from some depressed characters.
Basically the lead up and all the emotional baggage (kidney transplants, mother/daughter issues, arguements over the wedding...) is all supporting material for that emotional outburst. Get that wrong and the play goes south (no pun intended :-) very quickly. Katherine is a magnificent actor (I saw her in the Crucible at GRADS - very powerful) and she should be commended for doing such a fine job on a such a vital straight role as M'lynn.
...I know I've gone on a bit here but this is one of my favourite plays of all time - my passions get the better of me sometimes. :-)
Thanks for listening. Love the web-site by the way - cheers to all concerned.
JS
I must say though I thought you made a big oversight in not mentioning Katherine English in her role as M'Lynn (I think that's the right spelling).
Steel Magnolias is one of my favourite plays/movies as well. And loving its humour as much as I do, it's easy to get caught up in the machinations of Ouiser and Clairee - especially in their interplay after M'lynn's emotional outburst - which are of course highly hilarious.
However, the thing that gives that scene such power and tension *IS* that emotional outburst by M'Lynn. In retrospect this is possibly the most demanding role of the play and possibly one of the most important.
Granted, comic timing is very important for any actor and to really get the best out of any comic role you need to have that certain finesse. And yes, M'Lynn's role in the play is more of a 'straight/foil' one. But think about it, this is one hell of a straight role to play!
The emotional power in the final act comes from a progression in emotions. If Katherine hadn't had done a totally believeable job in creating that tension, the effect of Clairees line : "...here, hit this!" wouldn't have half its power. You're right, It's the best line in the play because of the release of the built up tension. And it's M'lynn that creates that tension. Take away that character in that scene or diminish the emotional impact of her outburst and you're left with little but a bunch of witty and bitchy quips from some depressed characters.
Basically the lead up and all the emotional baggage (kidney transplants, mother/daughter issues, arguements over the wedding...) is all supporting material for that emotional outburst. Get that wrong and the play goes south (no pun intended :-) very quickly. Katherine is a magnificent actor (I saw her in the Crucible at GRADS - very powerful) and she should be commended for doing such a fine job on a such a vital straight role as M'lynn.
...I know I've gone on a bit here but this is one of my favourite plays of all time - my passions get the better of me sometimes. :-)
Thanks for listening. Love the web-site by the way - cheers to all concerned.
JS