...it makes the flowers bloom...

The clutter of the intricately decorated stage hits you with appropriate abuptness—it creates the atmosphere of the unabashedly Southern-charm-filled salon where we are allowed to glimpse the lives of six Southern women, as well as the lives of the actors who play them. Steel Magnolias focuses on the relationship between "the prettiest girl in town," the diabetic Shelby (Breen Sullivan, DC '01) and her overbearing mother, M'Lynn (Lucy Michael, MC '01). Shelby's illness strains her relationship with her mother, whose intense love for her daughter is manifested in a very present sense of responsibility for her well-being. The rest of the cast makes up a close circle of friends who help the two through their struggle, while involved in their own personal challenges and tribulations.

The "fourth wall" is removed on several occasions so that the actors can relate personal anecdotes that relate tangentially to the plot. The stories are charming and well told, but seem more of a device for their own sake than one that adds something to the production, particularly as the actors step out of character to tell them. Similarly, the action of the play begins with the actors getting into costume on stage for several full minutes, talking to each other as though the audience weren't there. This has an unsettling effect and no evident purpose. The overall effect is that the audience feels closer to the actors themselves, but unsure how to interpret the fact that several fairly dramatic scenes are interrupted by monologues about, for example, diarrhea and farting.

Theater

Steel Magnolias Directed by Desiree Burch Fri., Mar. 31, 7 and 9 p.m. Sat., Apr. 1st, 1, 3, and 7 p.m. Sun., Apr. 2, 1 and 3 p.m. Calhoun Cabaret $2

The performances are all solid, although the actors sometimes have trouble avoiding being consumed by their Southern accents, particularly the tightly-wound, born-again Christian Annelle (Ashley Lucas, MC '01). Lucas delivers a funny, if sometimes overdone performance, exhibiting good comic timing and playing a convincing, self-proclaimed "dork." Erin Callahan, JE '00, plays an extremely likable—though perhaps too youthful—Clairee, widow of the former mayor. Callahan is charming, and quite adorable. Director Desiree Burch, TD '01, also performs comfortably as the curmudgeonly Ouiser, and is appropriately garrulous and outrageous. Elissa Yudofsky, ES '03, looks the part of the over-teased salon manager, and while initially slightly stark, she warms to her role as shameless gossip and endearing quasi-mother of the neurotic Annelle. Sullivan is solid as Shelby, portraying her as strong without being hard, and kind without being sweet. Michael seems initially uncomfortable in her role as a mother, and certainly stands out as having the least Southern charm of the cast (besides, perhaps, the incorrigible Ouiser), but she improves dramatically in the second act, when M'Lynn proves her unfailing adoration of her daughter by offering her own kidney for a life-saving operation. Michael is strong, warm, and delivers a moving performance.

In fact, most of the better performances are delivered in the second act, when the accents are toned down and the actors seem more comfortable and much more convincing as a group of friends, creating a more intimate atmosphere. The final scenes reveal the true chemistry of the group as the characters forego their "smartass" humor to support M'Lynn and Shelby through their operations. Suddenly, everyone and eberthing on stage makes sense. Shelby and M'Lynn seem to understand each other while the other women succumb to a happiness which has either eluded them or which they have refused to embrace. The salon is a haven; the women are friends. And when they let themselves show their affection for each other, the effects are lovely.

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