I’ve said this in a few reviews lately, but it feels especially true right now — so many of us are reaching for nostalgia as a way to steady ourselves. The world feels noisy and unpredictable, and there’s a real comfort in stories that take us somewhere familiar, somewhere grounded in human connection rather than constant updates and distractions. Steel Magnolias at the Playhouse Theatre at QPAC leans right into that. It gives us a pocket of the 1980s where there are no smartphones, no social media, just a beauty salon filled with conversation, laughter, and the kind of relationships that are built face-to-face.
I’d seen the film before but never the stage play, so it was fascinating to experience a slightly different take on a story I already know so well. The two versions don’t line up exactly, and while I won’t spoil the specifics, I did find myself occasionally reflecting on how certain moments landed for me in the film. That’s probably the influence of first impressions — the version you encounter first tends to settle in as your reference point — and it inevitably shaped my response here. What stood out, though, was how immediate the story feels on stage, with a sense of connection that only comes from watching it unfold live.
Jessica Redmayne’s Shelby is a standout. She brings a bright, effervescent energy that makes the character feel like a genuine source of light on stage. There’s a natural charm in her performance that never feels forced, and it makes you understand exactly why everyone in that room gravitates towards her. Debra Lawrance as Clairee is equally memorable, delivering each line with a sharp, acerbic wit that lands beautifully. Her comedic timing is spot on, and the texture of her voice adds an extra bite to every remark.
The ensemble finds a strong rhythm together, and the world of the salon feels fully realised thanks to Simone Romaniuk’s set and costume design. It’s detailed without being overworked, giving the sense of a space that’s been lived in for years. The lighting design by Paul Jackson complements this atmosphere, though it also highlights one of the production choices that didn’t quite land for me.
Scene transitions are marked by full blackouts with the curtain coming down each time. In a single-set play, that approach feels more disruptive than it needs to be. One blackout in particular ran long enough that I could hear audience members start to question what was happening next: “Are the lights coming up?”, “Is it interval?. It breaks the flow that the performances work so hard to build. There are ways to handle these shifts that keep the energy of the space alive, allowing the story to move forward without stepping completely outside of it.
There were also moments where the direction signposted what was about to happen a little too clearly. The pacing and pauses sometimes guided the audience toward an emotional turn before it had the chance to unfold on its own, which softened the impact.
Even with that, the core of Steel Magnolias comes through. The humour feels grounded in character, and the emotional moments carry weight because of the relationships at the centre of it all. Sitting in that salon, watching these women talk, support each other, and share their lives, there’s a sense of stepping into a different pace of living — one where connection isn’t filtered through a screen. Right now, that feels like exactly the kind of escape many of us are looking for.
WHAT: Steel Magnolias
WHERE: The Playhouse, QPAC
WHEN: Until May 10
TICKETS: Get your tickets to Steel Magnolias here.
In her spare time, she likes long walks down the makeup aisle and performing in Brisbane theatre. You can follow her adventures on Instagram and TikTok @thebeautypalate.
