Hair Today . . .

Review of Steel Magnolias, Music Theatre of Connecticut

The first thing to take in about the production of Steel Magnolias at Music Theater of Connecticut is how Jessie Lizotte’s set design has opened up the playing space, creating a beauty salon with several work areas, a reception desk, a waiting area, a hair dryer, and two doors, one inner and one to the outside. The shop is run by Truvy (Raissa Katona Bennett) in what was formerly a carport on her property and it provides an isle of sanity for a coterie of women in the town who drop in regularly to get their hair done and to chat about whatever might be going on in the town of Chinquapin, Louisiana.

Directed by Pamela Hill, this fine ensemble cast captures the rhythms of everyday talk in Robert Harling’s script and the movements about the shop, as side conversations and common discussions join, overlap or conflict, is vividly enacted. Which is a good thing because all the action takes place in the shop and it’s important we feel as at home there as these women do. There’s nothing claustrophobic or phony about Truvy’s. It is an impressive and effective space in which to watch this discursive comedy-drama unfold.

M’Lynn (Kaia Monroe), Annelle (Rachel Rival), Truvy (Raissa Katona Bennett), Shelby (Andrea Lynn Green) in MTC Mainstage production of Steel Magnolias (photo by Heather Hayes)

Taking place in two Acts, each with two scenes, the play’s chattiness provides a context for four key moments in the life of Shelby Eatenton (Andrea Lynn Green), the daughter of M’Lynn (Kaia Monroe) who is one of the mainstays at Truvy’s, along with Clairee Belcher (Cynthia Hannah), widow of the late mayor, and Ouiser Bourdeaux (Kirsti Carnahan), the local curmudgeon. In the first scene, we see preparations for Shelby’s marriage that afternoon and meet, as do the women, Annelle Dupuy-DeSoto, a new hairdresser Truvy hired more from pity than need. The young woman, it emerges, has been abandoned by her husband and is living at a rooming-house. Soon she is welcome as one of group, and changes in her status—from abandoned to engaged to expectant mother—mark the passage of time over the course of the play.

Clairee (Cynthia Hannah), foreground, Annelle (Rachel Rival), Ouiser (Kirsti Carnahan), background in MTC Mainstage production of Steel Magnolias (photo by Heather Hayes)

In that first scene we learn that Shelby has diabetes when she undergoes a hyperglycemic episode, which is dramatic but easily coped with. The main tension seems to be between Shelby’s “get on with life” attitude and her mother’s pricklier concerns. Monroe makes M’Lynn seem something of a wet blanket, more apt to be gently sarcastic rather than merry. The merriest is Clairee, who will do just about anything to get a rise out of Ouiser, her foil. Carnahan and Hannah do a lot to keep things lively. As Truvy, Bennett’s Dolly Parton-style hairdo makes her look brassier than she is; there’s a genuine openness in her dealings with Rachel, who, as played by Rival, is very sweet but not that bright. The main figure is Shelby, and Andrea Lynn Green, who played the cunning Maggie the Cat in MTC’s sharp Cat on a Hot Tin Roof last season, plays her as a young woman with a lot on her mind, clearly used to being the young one doted on by these older ladies. The big reveal at the end of Act One shows us that she will live her own life, even if it kills her.

Shelby (Andrea Lynn Green) in MTC Mainstage production of Steel Magnolias (photo by Heather Hayes)

In Act Two we learn of the consequences of Shelby’s decision to have a child despite her doctor’s warnings and against M’Lynn’s wishes. The first scene of Act Two, a year and a half since the end of Act One, seems to mark life as usual, except that Shelby, as everyone learns to their shock and concern, needs her mother in a very particular way, and that creates a spotlight for M’Lynn as she continues to be essential in her daughter’s life. Green makes Shelby’s exit touching as she manages to think of others while facing major surgery. The final act gives M’Lynn the focus as she has to accept her daughter’s outlook and believe it is for the best. Monroe keeps M’Lynn tightly wound so that her breakdown is the more powerful, the kind of letting go and recovery that only happens with trusted friends.

Truvy (Raissa Katona Bennett), M’Lynn (Kaia Monroe) in MTC Mainstage production of Steel Magnolias (photo by Heather Hayes)

Steel Magnolias is noted, I suspect, for its ability to bring out tears and hankies. Truvy says that one of the best emotions is “laughter through tears” and that’s the feeling the play aims for. While only M’Lynn and Shelby are family, these six women provide a family-like space for each other, a context of wisecracks and pep-talks and shared confidences that allows for both laughter and tears. M’Lynn, who the others think of as tough, can only go so soft; Clairee, the joker, has to find something to make the others laugh; Ouiser, who has “been in a very bad mood for forty years,” can’t go too touchy-feely. It’s a fine line of playing as cast in the little company they have created, with Truvy as the one who, no matter what’s going down, has to help the ladies find a look to meet it with. It’s a play about life, loss, love, and the importance of familiar routine played to perfection with this perfectly chosen cast.

Steel Magnolias
By Robert Harling
Directed by Pamela Hill

Scenic Design: Jessie Lizotte; Lighting Design: RJ Romeo; Costume Design: Diane Vanderkroef; Sound Design: Will Atkin; Prop Design: Merrie Deitch; Hair Design: Peggi De La Cruz; Stage Manager: Jim Schilling

Cast: Raissa Katona Bennett, Kirsti Carnahan, Andrea Lynn Green, Cynthia Hannah, Kaia Monroe, Rachel Rival

Music Theatre of Connecticut
November 8-24, 2019

The Folks at Home

Review of Fun Home, Music Theater of Connecticut

In its Connecticut premiere, directed by Kevin Connors, the Tony-award winning musical Fun Home, which was staged in a thrust space at Circle in the Square on Broadway, finds a home in the intimate thrust space at MTC. The show, which includes several children in its cast and fits the band into the back of the playing space, feels very much at home in the community-theater aspects of the venue.

And there is definitely a homegrown aspect to the musical’s concerns, its living room set made odd by a coffin in the wings. In the early scenes, the children (Ari and Jonah Frimmer and Caitlin Kops) in this house that incorporates a funeral home—nicknamed by the kids “fun home”—set the tone, including a show-stopping and bouncy Jackson Five homage.

front: Avi Frimmer, Jonah Frimmer; middle: Megan O'Callaghan, Amy Griffin, Caitlin Kops; standing: Abby Root, Anthony Crouchelli, Greg Roderick, Raissa Katona Bennett

With music by Jeanine Tesori and book and lyrics by Lisa Kron, Fun Home, adapted from the graphic novel memoir by cartoonist Alison Bechdel (of Dykes to Watch Out For), looks back at the pains of growing up gay in a small town in Pennsylvania, keeping one eye on the upward trajectory of the protagonist—who we see at three different ages: Small Alison (Caitlin Kops), Middle Alison (Megan O’Callaghan), and Alison (Amy Griffin), our grown-up narrator—and the other eye on a crippling dysfunction in the family.

Bruce (Greg Roderick), the father of three, has another life as a sometimes predatory gay man. Early in the show, Alison announces that she became a lesbian and that her father was gay and killed himself. The effect is to suck much of the bounciness out of what had seemed to be a family chronicle about kids coping with a demanding and fussy father, replacing it with Alison’s brooding view of her childhood. While it may be, in some ways, a happy coming-out story, Fun Home houses a bitter tale of intergenerational failure.

Bitterness is the main note of Amy Griffin’s Alison, but the youngest version of Alison is lighter if only because not so keen to judge Bruce, and Caitlin Kops does a nice job of making Small Alison seem her own person. Small Alison’s struggles with her father tend to be about matters of taste—he takes command of her reading, belittles her choice of TV programs, and demands she make her drawings conform to his dictates.

As played by Greg Roderick, Bruce is not as threatening as Alison views him, merely an unpredictable bully. He seems to be genuinely attached to Alison, as his eldest child and only daughter, and we don’t really get interactions with his sons after those initial scenes. Alison’s view of her father might resonate more if he were creepier, but the scenes she didn’t witness—such as her father’s efforts to seduce high school students and handymen (Anthony Crouchelli)—seem more sad than bad.

While we might see Bruce’s tale as a tragedy in its own right, the elder Alison is more concerned with how his lies and bad choices undermined the family. Alison’s youth is summed up by a few key scenes—an early aversion to wearing dresses, a fascinated view of a butch delivery woman, a visit to the Gay Union at college, followed by the discovery of sex sweetly invoked by Megan O’Callaghan’s bright rendering of “Changing My Major.”

At one point we learn, when Helen (Raissa Katona Bennett), the mother, finally admits her knowledge of the hidden side of Bruce’s sexuality, that the couple has coped their entire lives with his closeted homosexuality and a festering resentment on both sides. We might expect Middle Alison, in college and in a couple with Joan (Abby Root), to feel some compassion, but that doesn’t seem to occur to her. The sense in which adults are unknowable to their children resonates, but, within the memoir conceit, the focus is always on the child’s perspective, making Bruce unknowable to us as well.

Helen is something of a mystery too. She’s away a lot, it seems, as an actress in theater. Raissa Katona Bennett’s performance puts heart into Helen’s songs, such as one about how it feels to maintain a museum-like household to her husband’s satisfaction, and a powerful aria to her daughter about the psychic costs of a long marriage to such a man. Her scenes with Bruce are mostly arguments, and a recollection of their earliest days together ends prematurely.

Late in the play, a visit to the “fun home” by Middle Alison and Joan seems like it might assuage the tensions, though a drive between Alison and Bruce goes nowhere, as neither father or daughter have a clue about how to speak about themselves. In place of a connection, there’s a song by Alison that chronicles the missed opportunity.

The play reaches for a resolution—since it’s harder to leave a musical than a play unresolved—that seems to me more maudlin than moving. It might register with more feeling if there weren’t so many unanswered questions—about Bruce and Helen—and so much overwrought feeling in Alison.

Without Bechdel’s artistry, in her drawing and her wide-ranging literary allusions, the book of Fun Home feels a bit like a Sisyphean punishment in which Alison must circle round and round the story of her life and never come to a different conclusion or a deeper understanding. Not much fun.

Fun Home
Music by Jeanine Tesori
Book & Lyrics by Lisa Kron
Based on the graphic novel by Alison Bechdel
Directed by Kevin Connors

Musical Direction: Thomas Conroy; Scenic & Lighting Design: Michael Blagys; Costume Design: Diane Vanderkroef; Sound Design: Monet Fleming; Stage Manager: Jim Schilling

Cast: Raissa Katona Bennett, Anthony Crouchelli, Ari Frimmer, Jonah Frimmer, Amy Griffin, Caitlin Kops, Megan O’Callaghan, Greg Roderick, Abby Root

Musicians: Thomas Conroy, conductor / keyboard; Susan Jiminez, violin; Michael Mosca, guitar; Chris Johnson, drums

Music Theatre of Connecticut
April 20-May 6, 2018