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
Wed, 19 Mar 2003, 09:32 amWalter Plinge
I agree with Bernadette there. I also have a weakness for redheads, especially ones that wear glasses.
I am always attracted to plays that get a bit of attention from other reviewers, good or bad, closely connected or not, so I went last night to see what it was all about. (By the way, thanks Harbour for doing Monday and Tuesday - always the easiest nights to get babysitters and it didn't seem to hurt the size of the house at all).
I agree with most of what the other reviewers have said, except I didn't find Ouiser's hand business to be inappropriate at all - she is obviously one of those characters whose outward calm belies an inner torment. This can often be effectively illustrated with very simple hand-acting, as I believe was the case here.
Once I got used to the accents, I found all the characters very convincing and endearing in their own ways, despite their imperfections. After having seen Garrick's 'Morning Sacrifice' recently, it seems to me that there is a special magic and energy generated by an all-female cast which is quite unique and empowering.
And as for that Truvy, she can leave her gold slippers under my waterbed anytime!
stinger@iinet.net.au
I am always attracted to plays that get a bit of attention from other reviewers, good or bad, closely connected or not, so I went last night to see what it was all about. (By the way, thanks Harbour for doing Monday and Tuesday - always the easiest nights to get babysitters and it didn't seem to hurt the size of the house at all).
I agree with most of what the other reviewers have said, except I didn't find Ouiser's hand business to be inappropriate at all - she is obviously one of those characters whose outward calm belies an inner torment. This can often be effectively illustrated with very simple hand-acting, as I believe was the case here.
Once I got used to the accents, I found all the characters very convincing and endearing in their own ways, despite their imperfections. After having seen Garrick's 'Morning Sacrifice' recently, it seems to me that there is a special magic and energy generated by an all-female cast which is quite unique and empowering.
And as for that Truvy, she can leave her gold slippers under my waterbed anytime!
stinger@iinet.net.au