Despite its theatrical origins, the most famous incarnation of Steel Magnolias is a film starring everyone ever famous in the 1980's. On my arrival, the ADC foyer was only half full, and consisted primarily of women who looked like they'd probably remember Julia Roberts' birth, let alone her role in the film – a fact that did nothing to allay my pre-show trepidation. Not that the older lady cannot be discerning, but the primary audience demographic suggested Steel Magnolias was going to be stuck in its dated mould. More fool me.

In fact, my plus one and I ended up sitting next to two male students – who did tell us the main draw for them was the all-female cast. However, when Dolly Parton began to ring out over the speakers, and the lights rose on a pink-and-cream beauty parlour complete with sashaying owner and pink sweater-ed employee, I began to worry for their sanity. The dialogue was fast, funny and frivolous and the Louisiana accents credible, but the play still took some getting used to. This was no fault of the actresses, but rather the outdated script and setting. However, this soon changed, and by the end of the first act I had a warm, fuzzy feeling akin to the effect of a particularly cute Andrex puppy. I wanted to be friends with these women – hell, I even wanted their hairstyles. Yet to leave it at such a shallow evaluation would be wrong: these women can act. This was clearly a well-directed cast, and one which seemed to have recognised the limitations of the play and let their characters outgrow it.

Initially, each character seemed to attract an easy label like the one of seven dwarves: Sentimental, Ditzy, Sassy, Sweet, Strict and Grumpy. However, these stereotypes expanded hugely as the play progressed – particularly in the second act – resulting in some of the best performances I’ve seen in Cambridge. Hannah Blaikie was charming as Truvy, despite being burdened with the more sickly lines. The development of the relationship between Truvy and her assistant, played beautifully by Alice Wainwright, was entirely believable – indeed, all the characters' motivations and weaknesses felt very human. Jess Labhart as Clairee was by turns funny and caustic during her exchanges with Ouiser (Liane Grant), but the character's warmth was clear, even underneath the biting dialogue. Grant’s delivery was faultless; she had everyone in stitches from the second she opened her mouth. Charlotte Reid breathed life into the fairly bland Shelby, whose strength and wit was not as apparent as other characters’, but was again utterly convincing. However, it was the relationship between Shelby and her mother M’Lynn (Phoebe Haines) that drew us closest to the characters, thanks to their beautifully pitched exchanges in the second act. Haines’ final speech was, quite honestly, perfect.

Gush over. This play will not suit everyone. My neighbours borrowed my notepad in the interval to write ‘Do not watch if you have a penis’, but did underline the comment ‘five star acting’. It is admittedly something of a chick flick, but most boys will probably, very secretly, enjoy it. See it – and wear waterproof mascara.