Arts & Entertainment
Belles and beauticians
Feisty but flawed, Keegan’s ‘Magnolias’ production revives classic ‘80s dramedy
‘Steel Magnolias’
Through Aug. 21
Keegan Theatre at Church Street
1742 Church Street, N.W.
$30-$35
703-892-0202

From left, Sheri Herren, Larissa Gallagher, Jane Petkofsky and Brianna Letourneau in Keegan Theatre’s production of ‘Steel Magnolias.’ (Photo by Jim Coates; courtesy of Keegan)
Before it was a hit film, “Steel Magnolias” won kudos and enjoyed a long and successful run as an off-Broadway play. Written by Robert Harling in response to his younger sister’s death, this drama wrapped in comedy explores solidarity in adversity and the resilience of women, particularly southern women. Keegan Theatre is now offering its own take on the popular work.
The story unfolds entirely in Truvy’s hair salon, a small town Louisiana beauty bastion inhabited exclusively by females, and while both stylists and clients frequently refer to their men who have names like Drum and Spud, the audience never actually meets them. At Truvy’s, women are able to let their hair down. In between shampoos and comb outs, they not only gossip but also share hopes and disappointments.
“Steel Magnolias’” more serious side concerns regular clients M’Lynn and daughter Shelby. The mother is justly worried about her diabetic offspring who marries young and proceeds to get pregnant against doctors’ advice. It’s a lot like a very long episode of the Atlanta-set sitcom “Designing Women” (fittingly Delta Burke was featured in Steel Magnolia’s all-star Broadway 2005 revival) with glib Southern white women dishing, bitching and commiserating. Only here someone dies.
Directed by Mark Rhea, the ensemble cast includes Sheri Herren and real life daughter Laura Herren as M’Lynn and Shelby. Linda High and Jane Petkofsky play cranky spitfire Ouiser and rich widow Clairee, respectively. As Truvy, Larissa Gallagher chats and does hair (in fact, she successfully tortures the big blonde wig that Herrin’s Shelby wears in act one into a respectable wedding up do); and Brianna Letourneau’s Annelle — Truvy’s anxious assistant — evolves markedly throughout the play’s four scenes but regrettably retains her questionable sartorial taste. She trades a frumpy polyester dress for a cowgirl getup.
There are some problems: The cast’s Louisiana accents are all over the place and the pacing of the show is inexplicably uneven. And while some of the actors have chosen to underplay their parts, others are going at it full throttle. Admirably, some of the cast are struggling to portray real characters and not simply caricatures, but given the material it’s not easy.
The play’s intimate setting is well-suited for the cozy Church Street Theater. Trena Weiss-Null’s set design isn’t the tacky beauty box one might expect, but rather a typical modest ‘80s salon with mint-green marbleized walls and black and gray stations. Similarly, costume designer Erin Nugent dresses the ladies in leggings, boxy power suits and other items totally redolent of the era.
A bona fide chick flick, the 1989 film version starring Sally Field and Julia Roberts as mother and daughter is also beloved by a lot of gay men, some of whom can irritatingly rattle off chunks of the film’s dialogue verbatim. Memorable lines include: Truvy’s “All gay men have track lighting and are name Rick, Mark or Steve,” and Ouiser’s “I’m not crazy M’Lynn. I’ve just been in a bad mood for the last 40 years!”
When “Steel Magnolias” opened in 1987 at the Lucille Lortel in Greenwich Village, theatergoers enjoyed meeting these feisty belles and their southern fried phrases, but certainly Shelby’s decision to fearlessly live life in the shadow of death’s specter must have resonated strongly with gay audiences who were around for some of the grimmest years of the AIDS crisis. More than two decades later, the play might feel a little stale, but that courageous spirit still resonates.
Iran and Egypt on Friday faced off during the World Cup’s “Pride Match” in Seattle.
Iran is among the handful of countries in which consensual same-sex sexual relations remain punishable by death. Discrimination and persecution based on sexual orientation and gender identity is commonplace in Egypt.
Friday’s match coincided with Pride weekend in Seattle. The Egyptian Football Association and the Football Federation Islamic Republic of Iran both objected to playing in the “Pride Match.”
Egypt and Iran tied 1-1.
FIFA, for its part, allowed Pride flags inside the stadium during the match.
“The FIFA World Cup 2026 is an inclusive event that welcomes people from all backgrounds,” a FIFA spokesperson told the Washington Blade in a statement. “Fans of all sexual orientations and gender identities are welcome at matches and events. General statements of human rights, including rainbow flags and other flags representing sexual orientation and gender identity, are permitted under the FIFA World Cup 2026™ Stadium Code of Conduct and may be displayed inside stadiums provided they are used in a manner consistent with the code.”
Human Rights Watch welcomed FIFA’s decision to allow Pride flags inside the stadium. Outright International, a global LGBTQ and intersex rights group, distributed Pride flags in Seattle on Friday, which was Pride Match Day.
“Visibility matters,” said Outright International Executive Director Maria Sjödin. “Pride is now being celebrated in more than 100 countries, including this weekend in Seattle. For many LGBTIQ people, seeing a Pride flag in public is a reminder that they are not alone, and that their rights and dignity are recognized.”
FIFA President Gianni Infantino earlier this year told Die Weltwoche, a Swiss magazine, that “there will be no ‘Pride Match’ at the (FIFA) World Cup.”
“There will be a FIFA World Cup match in Seattle, and on the same day, events organized by external organizations will be taking place in the city,” said Infantino. “But that has nothing to do with the match itself.”
Peter Tatchell, a long-time LGBTQ activist from the U.K. who is director of the Peter Tatchell Foundation, was among those who traveled to Seattle for Friday’s match. Tatchell accused FIFA of not vetting World Cup teams — specifically Iran, Egypt, Saudi Arabia, Ghana, Senegal, Qatar, Tunisia, Morocco, Iraq, Uzbekistan, and Algeria — over whether they would allow gay players.
“FIFA is protecting LGBT+ visibility in the stands while failing to protect LGBT+ players on the pitch,” said Tatchell.
Photos
PHOTOS: Frederick Pride Parade
The second annual Frederick Pride Parade was held in the streets of downtown Frederick, Md. on Friday, June 26.
(Washington Blade photos by Michael Key)


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Theater
Carla Hall goes from ‘Top Chef’ to the stage
Solo show ‘Please Underestimate Me’ premieres at Olney
‘Please Underestimate Me’
Through July 12
Olney Theatre Center
at Mulitz-Gudelsky Theatre Lab
2001 Olney-Sandy Spring Rd.
Olney, Md.
$47-$101
Olneytheatre.org
Carla Hall gained celebrity status from Bravo TV’s “Top Chef.” She was funny and fun, and with her kooky signature catch phrase “Hooty hoo” and the southern-inspired recipes she lovingly cooked, Hall stood out in a kitchen crammed with contestants.
Now the D.C.-based Hall is taking revisiting her earliest love with the world premiere of her solo show “Please Underestimate Me,” currently running at Olney Theatre Center’s intimate and revamped Mulitz-Gudelsky Theatre Lab.
In the 90-minute piece (written by Hall, Lori Kaye, and Kaye’s partner Leslie Thomas; and directed by Lili-Anne Brown), Hall leads with food but quickly swerves into her personal and other aspects of her professional life. Built around an immersive fictional TV cooking show, her new play draws on experiences from her seven seasons (2011-2019) co-hosting cooking/chat show “The Chew”an ABC daytime proving ground, and her heady years on “Top Chef.” (2008, 2010).
Born and raised in Nashville, Hall wanted to attend Boston University to major in theater, but was rejected. Instead, she went to Howard University at her mother’s urging, where she ultimately majored in accounting. After graduating in 1986, she donned a bespoke business suit and briefly worked as a CPA for Price Waterhouse.
Business wasn’t for Hall. Tall and slender, she walked the runways in Paris for a while before ultimately finding her niche as a chef. Cooking seemed to come from her heart, something she learned from her grandmother who not incidentally bankrolled Hall’s way through culinary school.
Now she’s bringing the vibrancy and good humor that made her a “Top Chef” fan favorite and a popular TV host to the stage with “Please Underestimate Me.”
WASHINGTON BLADE: You seem a natural live performer. Were at all you nervous about doing this?
CARLA HALL: Anytime you step outside of what you’re known for you have to take a risk and make it happen. I’d been working on this the idea for seven years. I decided that I really wanted to do a variety show and really wanted to step back into my original love of theater.
I didn’t know what that looked like so I was asking a lot of people, actors and friends, about how to break into it. Can they see me as more than a chef? So, I told my agency to book me for voice overs, cameo roles. I got an acting coach and I was seeing a lot of single person shows. I literally embodied the thing that I wanted.
BLADE: Have you always been a vocal and public ally of the queer community?
HALL: For me, it’s natural. I came from the theater and dance world. I have a lot of gay and queer friends.
There’s something about people being gay and queer that goes with a need to be authentic to yourself. I think that’s why you find a lot of queer people in the arts. Dare to be you. Dare to be different, right? I like that.
BLADE: Long ago, I remember stopping by a Safeway in Wheaton to grab a sheet cake for a party. Your second or first episode of “Top Chef” had just aired. I wanted to yell “Hooty hoo” across the aisles, but was too shy.
CARLA HALL: My catering kitchen was near that Safeway.You should have yelled. I’d have given you a hug. I’ll hug almost anyone.
BLADE: Thanks. I think. You hear actors saying there’s nothing quite like TV fame because you’re invited into people’s living rooms. What were those days like when you started being recognized?
HALL: I like people. I tell Matthew [Matthew Lyons, Hall’s husband of 20 years], when fans say hello it’s my chance to get to learn about them. I owe them a lot; without them I wouldn’t be working.
BLADE: At Olney, Lauren M. Nichols’ surprise-filled set and Kelly Colburn’s projections of your personal snapshots from over the years are really wonderful.
HALL: It becomes really emotional. At the end of the show, I see 12-year-old me. I’m looking at that girl, and they did a put a little crown on my head, and I’m living her dream 50 years later.
BLADE: Is the pace hard?
HALL: Seven shows a week isn’t easy. I used to say “Top Chef” was my most grueling experience…well, that was before I did this.
BLADE: And is it gratifying?
HALL: At the end of the day, yes. Look, this play is filled with personal highs and lows and emotionally it’s exhausting. It’s also rewarding. Two weeks before the show started, I wasn’t sure I could do this.
BLADE: But of course, you are doing it. And you’re doing it so well.
HALL: A while back, I reached out to the executive producer of “The Chew” and thanked him for being the messenger of my lessons. Without those experiences I wouldn’t be here now doing “Please Underestimate Me.” My confidence has definitely grown. I’m a firm believer that everything that happens to you is for you.
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