It’s a bold choice to present a piece of theater as beloved and acclaimed as Steel Magnolias. For people of a certain (cough) maturity, the movie is a go-to experience for anyone needing a deep laugh, a cathartic cry and brilliant writing. It’s hard to separate the cinematic masterpiece from the stage play, and the iconic actors from their equally iconic dream roles. Thankfully, Ferndale Repertory Theatre’s production doesn’t fall into the trap of trying to recreate the movie or its performances, but successfully draws on its nostalgia while focusing on its own story.
There is a certain expectation and heaviness when entering the production for fans of this show. The audience is treated to a spectacular set design by Carl McGahan, masterfully painted by Carin Billings and adorned with perfect props by Gwen Price that immediately set the mood, time and quirkiness of the show. Even the pre-show ’80s sing-along music solidifies the environment and does well to stifle the underlining emotion of those prepared with tissues hidden away in their garments. After all, this show is a comedy, brilliantly written, about a group of friends who regularly gather in Truvy’s (Elaine Yslas) beauty salon. The ritual of their elaborate hair and nail regimens is secondary to the comradery, gossip, escape and friendship that each character shares. It is a treat to see the actors transform on stage in a skillful flurry of updos, wet curls and hairspray while not only their lives, but the small town’s characters unfold; the actors breathe life into people and situations that are never seen but always present.
We quickly learn that Shelby (Madison Glee) lives with Type 1 diabetes. Her wedding day is filled with optimism and renewed aspirations in a life separate from her mother M’lynn’s (Heather Petersteiner) care. Annelle (Holly Robertson) is thrust into the salon’s world as Truvy’s new hire. She tries in vain to maintain secrecy under the scrutiny of quick-witted and dish-thirsty Clairee (Tina Hendricks Carver) and Ouiser (Ruthi Engelke), who woke up in a bad mood that’s lasted 30 years. Just as Annelle is swept into the fold, the audience is, too, as the development and bond of these characters centers the show.
Co-directors Ruthi Engleke and Mike Murdocks weave the play around a Southern pace and atmosphere befitting the setting. We can almost see the humidity hanging in the air and want to sip sweet tea while the soft Southern accents lull the audience at times too much; some hilariously sharp lines are robbed of the energy needed to fully land. With a nearly three-hour run time, I was thankful for what seemed like an extended intermission. It was nice to catch every word that may have been lost among a drawl. As the run continues, the air between lines and excruciating, inexplicably long scene changes will benefit the pace and urgency needed for this show. The actors being gifted with the ease to take their time, however, is satisfying and a testament to actor-friendly directing.
Ylas’ Truvy is authentic and romantic. Her truth is not Dolly Parton’s, but just as valid and equally loving. Hendricks Carver steals the show — it helps when you are given legendary lines that the audience speaks along (at least on the night I attended), but to perform them with legendary delivery is a feat to behold. I would like to see a bit more grit from Engleke, as Ouiser is like an auntie who can smack the bad words out of your mouth but not the smile off your face. The night I attended didn’t have the same commanding presence that I am spoiled with in Engleke’s other works. Petersteiner is a powerhouse actor, and though I wanted to see more authentic loving connection with her daughter that could bring her award-worthy ending scene to the next level, the performance is still rousing. It’s not often actors are awarded with amazing scripts like this one. The challenge for younger actors is to strip away pretense and let the beauty of the words guide character choices. Robertson and Glee show fantastic character acting throughout their performances, but I would love to see their venerability without the added affectations. Still, they add much-needed energy to the stage.
On my way out, I noticed the satisfaction written on the face of many in the house. I overheard a fellow audience member say, “They could not have done much better with that show, it was great!” This production should be proud to provide that reaction and continue improving our theater community with this strong offering. It is not the movie and unabashedly doesn’t need to be. I suggest getting your tickets soon.
Performances of Steel Magnolias continue Fridays and Saturdays at 7:30 p.m., with Sunday matinees at 2 p.m., through April 20. Visit ferndalerep.org or call (707) 786-5483.
Tiggerbouncer Custodio (he/she/they) is an empowered queer Indigenous Filipino artist whose works have been seen on Humboldt stages and elsewhere.
This article appears in Taco Week 2025.