Stepping into the Wallace Theatre during tech week, audiences most likely saw actors blocking, the technical team testing audio and the props team presetting the stage as they prepared for opening night of California Baptist University’s production of “Steel Magnolias” on Feb. 20.
The space reflected organized chaos, where the lighthearted gossip of a 1980s Louisiana hair salon met the high-pressure demands of a live theatrical run. Audiences experienced a story of humor and Southern charm from opening night through Feb. 21, 27, 28 and March 1.
Behind the scenes, student actors worked through the grit of the production. From drilling lines to perfecting period-accurate hairstyles, students mastered the emotional endurance required for one of theater’s most beloved plays.
For a show that centered on the chemistry of six women, the process extended beyond hitting marks. Zachary Bortot, theatre arts division director, watched the cast move from “performing alongside one another” to truly listening and responding as an ensemble.
“‘Steel Magnolias’ lives or dies on trust,” Bortot said. “It’s not just about delivering lines well, it’s about being fully present with one another in every moment.”
While the show appeared simple on the surface, that simplicity required precision. Because the script is conversational, the team approached the dialogue with the same care often reserved for Shakespeare.
“We have to ‘lift’ or ‘activate’ the words in a way that is active,” Bortot said. “Every character exchange, transition and prop placement has to be fine-tuned to support the emotional rhythm of the play. At the same time, the actors are managing costume changes, vocal pacing, physical endurance and emotional intensity.”
The energy shifted during tech week as actors moved from the rehearsal room to the actual set. Bortot described the transition as a shift from “exploration” to “integration.”
“Once we have a set, props, costumes, wigs, makeup— the story starts to crystallize and become more ‘lived in’ for the actors,” Bortot said.
This transition often felt like two steps forward and one step back as the cast adjusted.
“But if you trust the process, it can be followed by a beautiful moment where everything clicks,” Bortot said. “When that happens, you can feel the show take its first real breath.”
For students on stage, professional focus balanced with academic life. Ava Hill, sophomore theatre major who played Shelby, noted that working with physical props marked a major shift.
“Props and quick changes are definitely the hardest things to get used to,” Hill said. “I love getting to see the costumes because it just makes the characters come to life, but we have quite a few quick changes. Props are always a new element when you’ve just been miming it.”
Breanna Masters, junior theatre major who played Shelby’s mother, M’Lynn, echoed the intensity of those transitions.
“The biggest challenge for me has been my quick costume change between scenes one and two,” Masters said. “I have less than a minute to get rollers out of my natural hair, add a wig, as well as a full costume change. Navigating that is almost like choreography.”
To step into character, the actresses used different techniques to bridge the gap between student and performer. Hill relied on a “Shelby mood board,” while Masters focused on physical transformation.
“After warmups with the cast as a group, I like to take some time to get into M’Lynn’s physicality,” Masters said. “I’ll walk around in the heels and costume as if I’m walking out of myself and fully into her.”
Chloe Critser, freshman intercultural studies and broadcast digital media production double major who played Clairee, used a more internal approach.
“I jump around to get my energy up and take a minute to close my eyes and visualize my moment before the scene,” Critser said. “I also say a little prayer.”
Despite their different methods, the cast united through pre-show traditions.
“We have lots of pre-show traditions and warm up games, but my favorite is a game called ‘whoosh’ where we stand in a circle and whoosh the energy around,” Masters said. “This gets us excited and really ready to put on the show.”
Beyond technical work, the production aimed to resonate with the CBU experience. Bortot hoped students would see that strength is not always loud and that presence can be powerful.
“Our students are navigating academic pressure, personal growth, faith formation and questions about their future,” Bortot said. “This play reminds them that they don’t have to do that alone. Resilience in this story isn’t about pretending everything is fine. It’s about being honest, leaning on others and finding hope even in grief.”
Students are encouraged to attend and experience the story firsthand, particularly to appreciate the detailed set and emotional conclusion.
“I’m so excited for the audience to see how detailed everything is with the ways we actually do hair in the show,” Masters said. “I’m also super excited for the audience to see the very last scene of the whole show. No spoilers though!”
As the cast entered the final stretch before opening night, excitement filled the theater. For Critser, the goal was for audiences to witness the family built within the theatre arts department.
“I hope they connect to the characters and get to laugh and cry with us,” Critser said.
