Now on stage at Port Hope’s Capitol Theatre, 20 Queen Street”A celebration of the uniqueness of womanhood, this ‘Steel Magnolias’ poignantly and realistically still hits all the feels from laughter to tears in a matter of seconds. The production is another bona fide summer hit.”
A quick bit of research from Country Living’s website about playwright Robert Harling and the 30th anniversary of his ‘Steel Magnolias’ led me to discover that he models the women in the script after his mother’s friends. Harling remembers these women from his childhood as witty and clever because there was always a one-upmanship between them.
The same article from Country Living quotes Harling on his feelings about the women from his play and formative years: “That’s part of their mystique and allure, the fact that [Southern women] are completely unpredictable and undefinable.”
Port Hope’s Capitol Theatre’s opening night production of ‘Steel Magnolias’ continues to underscore the vision that Harling holds about these Southern belles. One cannot help but laugh heartily at the unpredictability of the playful quips that come zinging back and forth at each woman. However, when the truthful reality of life rears its head in the play, these ladies are far stronger in emotional maturity compared to the unseen men, who appear to be struggling to cope. It is these beautiful women who must confront the reality of what occurs with strength and grace.
Director Courtney Ch’ng Lancaster joyfully and appreciatively embraces the task of women holding space in the hair salon. It becomes a shrine where men are not allowed to enter. Not only do these ladies get their hair done (Raquel Duffy and Belinda Corpuz appear confident in their task), but the salon also becomes a place where the women gossip, chatter, listen and hear each other. The beauty parlour becomes a sacred space for the ladies. No matter what life may throw at them, these six can repair and prepare themselves and each other literally and figuratively.
Set in 1987 at Truvy Jones’s (Raquel Duffy) in-home beauty parlour in the fictional Louisiana parish of Chinquapin, ‘Steel Magnolias’ follows the lives of six women and their unbreakable bond.
Annelle Dupuy (Belinda Corpuz) applies for a job at Truvy’s salon. Annelle is reluctant to share how she ended up in town. Throughout much of the first scene of Act One, she listens intently to the other ladies who arrive for their weekly hair appointments. Shelby Eatenton (Charlotte Dennis) comes to get her hair done first because it is her wedding day. Her mother, M’Lynn (Deborah Drakeford), arrives trying to be as calm as possible as her unseen husband, Drum, continues firing off his gun. He wants to get the birds out of the magnolia trees before the wedding reception. Clairee Belcher (Carolyn Fe), a well-respected and wealthy widow, loves coming to the salon for her weekly get-together with her friends. Ouiser (Brenda Robins) arrives later than the others, yet she is fit to be tied in her anger and frustration. The unseen Drum’s firing of his gun sets off Ouiser’s unseen nervous dog, Rhett. Ouiser has had enough, and she wants M’Lynn to take action.
As the play unfolds, the audience learns more about the issues surrounding Shelby’s upcoming off-stage wedding to her unseen fiancé, Jackson. While the complex relationship between Shelby and her mother is introduced, it becomes strongly intensified in the second scene of Act One and the first scene of Act Two.
Jackie Chau’s impressive-looking set design of Truvy’s hair salon amply fills the Capitol’s mainstage. Attention has been paid to minute details that one would find in a salon, right down to curlers, hair dryers and magazines on the tables. In her lighting design, Michelle Ramsay perfectly captures the sunlight streaming through the main window. A nod of appreciation to Sound Designer Maddie Bautista for her work to ensure the audience can hear the dialogue. Bautista’s work in selecting pre-show late 1980s radio hits also brought a smile to my face because I remember them well. Laura Gardner’s costumes aptly reflect the late 1980s with their colourful prints and big hairstyles.
Lancaster casts six notable Canadian and gorgeous performers who deliver engaging and poignant ensemble onstage work that lingers long after the well-deserved opening night standing ovation. These ladies listen carefully and attentively to each other with reason and purpose. They will gladly go toe to toe with anyone who goes against what they hold near and dear to their hearts.
Raquel Duffy shines as the bright and sassy salon owner, Truvy, who becomes the much-needed confidante for all these ladies. Belinda Corpuz’s Annelle is endearingly shy in her initial introductions to the women at the top of the show. There’s a sense of intrigue as to why Annelle stays at Mrs. Robilene’s boarding house without a husband around. Carolyn Fe gives a kind-hearted performance as Clairee, thanks to her sly and observant observations. Brenda Robins is a hoot as Ouiser Boudreau in her often-exasperated temper outbursts. Fe and Robins are golden in their comic timing of back-and-forth smart-ass jabs at each other. One might wonder how these two have stayed friends for so long. Yet despite the continued ribbing between Ouiser and Clairee, the connective bond between these two can never be broken. While Ouiser was Clairee’s maid of honour years ago, the latter also tells the former: “You know I love you more than my luggage” after a joking reference at Ouiser’s expense.
As mother and daughter in real life, Deborah Drakeford and Charlotte Dennis bring authenticity to their roles as M’Lynn and Shelby. Their performances duly capture the complex emotions of love, disappointment, anger, and hope that define their relationship. Drakeford’s outburst at the end of the play remains highly appropriate, impactful and believable given the circumstances.
While the audience becomes embroiled in the raw vulnerability and razor-sharp, whirlwind back-and-forth banter, each lady’s journey becomes like a painting, with a delicate balance of sincerity: from Annelle’s slow transformation to Shelby’s standing up to her mother, to M’Lynn’s maternal strength regarding her daughter’s bravado in behaviour. Female camaraderie transcends the script. It’s as if the audience sits in that very same beauty parlour and watches the play’s action unfold along with the characters.
This ‘Steel Magnolias’ becomes a cathartic reminder of the resiliency of these six women that lies at the heart of their enduring friendship. Several people sitting around me commented that they felt their eyes welling up near the end of the production.
Ah, when theatre can bring tears to the eyes. As one of the characters says, “Laughter through tears is my favourite emotion.”
It’s worth a trip to Port Hope to take in this fine production and experience a similar emotion as well.
Running time: approximately two hours and 30 minutes with one interval/intermission.
‘Steel Magnolias’ runs until August 3 at Port Hope’s Capitol Theatre, 20 Queen Street. For tickets: capitoltheatre.com or call (905) 885-1071.
CAPITOL THEATRE presents
‘Steel Magnolias’ by Robert Harling
Directed by Courtney Ch’ng Lancaster
Stage Manager: Kat Chin
Assistant Stage Manager: Tara Mohan
Sound Designer: Maddie Bautista
Lighting Designer: Michelle Ramsay
Costume Designer: Laura Gardner
Set Designer: Jackie Chau
Performers: Raquel Duffy, Belinda Corpuz, Carolyn Fe, Charlotte Dennis, Deborah Drakeford, Brenda Robins
(Photo credit: Sam Moffatt, Maverick Media Collective. Pictured L-R: Raquel Duffy, Charlotte Dennis, Belinda Corpuz and Carolyn Fe.)
