SAAC brings live theatre back to the stage with the classic Southern dramedy “Steel Magnolias,” written by Robert Harling.
The beloved story centers on the lives of six women in the fictional Chinquapin, Louisiana beauty shop of Truvy Jones and her eager new assistant, Annelle. Her friends and clients include the eccentric millionaire Clairee, kindly curmudgeon Ouiser, social leader M’Lynn, and her daughter Shelby. Following their stories over several years, the play is built on a framework of love and resilience.
Auditions Monday, April 26
Auditions Thursday, April 29
Registration 6:00. Auditions at 6:30.
Callbacks Saturday, May 1 • The director will schedule individual times with anyone he needs to see for callbacks. Callbacks are NOT an indication of casting.
Rehearsal Begins May 3
Production Dates June 17-20 & 24-27
Roles for 6 Women • Ensemble Cast
Ages range from about 19 to early 70s. Everyone who can look or act the part is welcome to audition. No restrictions on ethnic or racial background.
Lobby opens a half hour before auditions. Arrive in time to fill out an audition form and get a head shot. Please bring your calendar and provide a complete list of rehearsal conflicts.
Monologues: All auditioners will be asked to read a monologue from the show. The director has selected two options for each character. Select one of the monologues and note that you may be asked to read the second one as well. Monologues do not need to be memorized, but auditioners are welcome to do so.
Scene Readings: The director will provide scene readings at Auditions and Callbacks. No advance preparations is necessary. Auditioners are encouraged to read the script before auditions. Copies are available for a 48 hours check out. For more information call SAAC at 870-862-5474.
DIRECTOR • TRIPP PHILLIPS is a New York-based production stage manager and assistant director with numerous Broadway credits including Plaza Suite, All My Sons, Carousel, War Paint, The Front Page, Finding Neverland, A Gentleman’s Guide…, Macbeth, Born Yesterday, Lombardi, Finian’s Rainbow, Pal Joey, Passing Strange, The Ritz, 42nd Street, Swing!, Ring Round the Moon, Dream The King and I, and How to Succeed in Business Without Really Trying. National tours include Memphis, A Christmas Story, Jersey Boys, and White Christmas. He also has a number of off-Broadway and regional theatre credits as well as 12 productions for New York City Center’s Encores! series of Great American Musicals.
He has worked as a lecturer and guest instructor at the Yale School of Drama, Columbia University, and Penn State University. An Arkansas native – born in Hot Springs and raised in El Dorado – he began his theatre work as a child actor and then a young director at the South Arkansas Arts Center in the 1970s and 80s. He holds a B.A. in Theatre from Centenary College of Louisiana and an M.F.A. in Directing from the University of Mississippi, from which he was graduated with honors in 1986. From 1986 to 1994, before beginning his work on Broadway, Tripp was the Artistic/Managing Director of the York Little Theatre in York, Pennsylvania, an acclaimed and popular community theatre, where he directed over 60 productions in a period of eight years.
The Story: The action is set in Truvy’s beauty salon in Chinquapin, Louisiana, where all the ladies who are “anybody” come to have their hair done. Helped by her eager new assistant, Annelle (who is not sure whether or not she is still married), the outspoken, wise-cracking Truvy dispenses shampoos and free advice to the town’s rich curmudgeon, Ouiser, (“I’m not crazy, I’ve just been in a bad mood for forty years”); an eccentric millionaire, Miss Clairee, who has a raging sweet tooth; and the local social leader, M’Lynn, whose daughter, Shelby (the prettiest girl in town), is about to marry a “good ole boy.” Filled with hilarious repartee and not a few acerbic but humorously revealing verbal collisions, the play moves toward tragedy when, in the second act, the spunky Shelby (who is a diabetic) risks pregnancy and forfeits her life. The sudden realization of their mortality affects the others, but also draws on the underlying strength—and love—which give the play, and its characters, the special quality to make them truly touching, funny and marvelously amiable company in good times and bad.