Now with the added charm of being a pretty period piece, characterful classic Steel Magnolias returns to share laughter and love with a new generation of theatregoers. 

Originally written to work through the emotions of a family tragedy, Robert Harling’s 1987 play Steel Magnolias was a hit off-Broadway, quickly reaching much greater prominence with the release the 1989 all-star film. The key role of Shelby earned Julia Roberts an Academy Award nomination for Best Supporting Actress and also gave Nicole Kidman her stage debut in the Australian premiere season in 1988.

Portraying a generous slice of life in the American South of the late 1980s, the six colourful women of Steel Magnolias bond and bicker in Truvy’s hair salon. While there is a degree to which the forthright women are larger than life, it is the heartfelt emotional core of truth that gives the play its timeless pathos and power.

Deftly chronicling an eventful couple of years in just four tightly written scenes, Steel Magnolias begins on the joyful wedding day of Shelby, with her ever loving mother M’Lynn joining her at Truvy’s to have their hair styled for the wedding. Advised by doctors not to become pregnant due to her diabetes, Shelby nonetheless acts upon her credo “I would rather have thirty minutes of wonderful, than a lifetime of nothing special,” a decision that leads to heart rending disaster. 

As with the best and most affecting tragedies, early scenes are filled with laughter, ensuring the audience forms strong attachments to the characters. Widowed Clairee brings self-deprecating mannered comedy (“if you can’t say anything nice about anybody, come sit by me!”), while eternal grouch Ouiser does not even realise how funny she is (“I’m not crazy, I’ve just been in a very bad mood for 40 years!”). New hair salon assistant Annelle discovers religion, and warmly affectionate optimist Truvy keeps them all looking their every best (“There is no such thing as natural beauty”). 

Working with a splendid set of actresses who are exceptionally well cast, director Lee Lewis fills the scenes with vibrancy and passion, with dialogue flowing freely and snappily. In the relatively intimate space of the Athenaeum Theatre, there is a strong sense of simply being a fly on the wall of Trudy’s salon as the candid conversations unfold through abundant laughter and occasional tears. 

With only the single location of Trudy’s salon required, set designer Simone Romaniuk furnishes the production with a handsome, functional set in pretty pastel tones. Also designing costumes, Romaniuk brings the 1980s back to life with theatrical flair, wisely favouring comfortable reality over any sort of ostentatious parody. 

Lisa McCune anchors the drama as proud matriarch M’Lynn, who devotes her life’s attention to darling daughter Shelby. McCune’s searing portrayal of M’Lynn’s climactic unleashing of helpless fury is as compelling as it is completely believable. 

Jessica Redmayne delights as dear Shelby, bringing particular focus to her genuine kindness and generosity towards others. Redmayne’s Shelby brings memorable joy to everyone she encounters, and that includes the audience. 

Mandy Bishop exudes abundant warmth as Truvy, who cheerfully spreads her rose-tinted salve on all situations. Bishop shows terrific confidence with styling hair whilst engaging in pacy dialogue.

A relatively new addition to the current Australian tour cast, Tracey Mann is right at home as well heeled widow Clairee, trading zingers with the best of them. Mann gives Clairee the necessary elegance, neatly underpinned with tender compassion. 

Belinda Giblin is a hoot as cantankerous curmudgeon Ouiser, expertly rounding out the role to show the real humanity beneath the comedy. 

At this performance, the role of new assistant Annelle was played by Madeline Flood. Flood more than held her own with the regular cast, taking Annelle on a entertaining journey of awakening. Flood worked particularly well to highlight the comfort that Annelle’s beliefs bring her and how this can be translated to others even if they do not share the same beliefs. 

With not a man in sight, and nary a kind word to be said about any of them, Steel Magnolias has an obvious focus on female audiences. Even so, the delightful heart and humour are there to be embraced and enjoyed by theatregoers of all varieties. 

Steel Magnolias plays at Athenaeum Theatre, Melbourne until 16 August 2026. For tickets, click here.

Photos: Brett Boardman