Most theatre patrons don’t need a good reason to see Steel Magnolias, as author Robert Harling’s six-woman dramedy set in a Southern beauty parlor has been a beloved staple of professional, community, and educational theatres for more than a quarter-century. But Donna Weeks, who directs the Playcrafters Barn Theatre’s January 13 through 22 presentation of the play, certainly had a good reason to want to direct it, given that like Steel Magnolias’ ingénue Shelby, Weeks herself has spent most of her life with type-1 diabetes.

“We knew it would be a good fit and we hadn’t done it for a while,” says Weeks of submitting the title for inclusion in 2017’s Playcrafters season, “and it’s a crowd-pleaser. I’ve always liked it – the movie and the show. But I’ve always been irritated by the scene at the beginning where Shelby has the low-blood-sugar attack. Part of me was like, ‘Oh, I just wanna get ahold of that show so just once it can be done right.’”

Damien Chazelle’s musical romance La La Land is a grand, lush, candy-colored dream of a movie, and I’d mean that as even higher praise if the lingering effects of dreams lasted longer than they actually do. Don’t get me wrong: I devoured this movie so hungrily and happily that I half-wished my admission ticket came with complimentary silverware and a napkin. Yet as of this writing, four days have passed since I saw it, and I find the film’s delirious charms and plaintive melancholy slowly but surely evaporating, only resurfacing when I play one of its tunes on YouTube, or enjoy a millionth viewing of the trailer. Writer/director Chazelle’s follow-up to Whiplash is a great time, but I’m not altogether convinced it’s a great movie, despite knowing that I’ll likely, eventually, watch it 20 or 30 more times in an attempt to decide.

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