The Steamie

This play brings together issues of women’s rights with the realities of a simpler life with humour, good nature and tenderness.

Set in a Steamie (an old wash house) in Glasgow one Hogamanay night during the 1950s, the play follows Mrs Culfeathers (Elizabeth Flay) Dolly (Jane Murphy), Margrit (Susanne Kinghorn) and Doreen (Justine Boardman) as they wash their laundry and reflect on their lives, families and dreams. As the evening of washing progresses, they soon discover more about each other and their lives while trying to avoid Andy (Simon Fletcher), the Steamie’s handy man.

This production captures a perfect snapshot of Scottish life at a time when modern technology, such as TVs and inside toilets were still a dream that remained just out of reach for many people.

It almost seems unfair for me to say it but the star of this production was the magnificent set created by Ian Howarth and his team. The design of it forced the majority of the action to take place downstage which is never a bad thing particularly with such a small cast.

The attention to detail was terrific and again we’ve seen the intimate space of PADOS House completely reinvented! The only criticism here is the great lengths of attention that was given to convey such realism and believability with the set caused the illusion to brake when the players went to turn on the taps and had to mime the water. I fully appreciate what complications of having running water (and wet washing) on stage would have made, however, should water have been included it would have made quite an impressive effect and would have avoided the players having to mime such a key part of what they were constantly doing through the play.  

The action is peppered by the occasional impromptu musical number – my first reaction was that these pieces felt a bit out of place with the rest of the action and made me question what this play is trying to be? Then, remembering my Nan who would often sing a tune whilst doing her jobs around the house helped me to forgive and potentially understand the intention.

Glaswegian accents are the menace to any company outside of Scotland attempting to stage this play. Rightfully, the decision had been made to present a gentle Scottish twang rather than the heavy glasgee tongue. We got the occasional hint of where some of the cast originate but mostly the small crew coped well with the problematic accent. 

Direction by John Flay was a humble interpretation to this much loved drama, he’d adapted the piece to the intimate space brilliantly. Some attention to a common sense viewpoint would have avoided such frustrating oversights as when the cast notice then comment on how nice Doreen’s new hair style looks given that nobody could actually see it due to her head scarf which broke any attempt of believability in what the players were saying at that point.

Jane Murphy gave us a fun-loving Dolly, the highlight of her performance was the hilarious antics when she decides to take a forbidden bath in a laundry bucket while her friends shield her modesty with washing.

The forgetful yet loveable Mrs Culfeathers portrayed warmly by Elizabeth Flay offered ample chuckles too, not the sharpest knife demeanour treated us to some warm laughter.

Justine Boardman plays Doreen, the youngest of the women, who daydreams of a future life in a country house surrounded by luxury gave us a very sincere portrayal and Suzanne Kinghorn injects a gutsy spirit into Margrit, she exicuted those comidic put-downs with a good punch.

Simon Fletcher provides some light relief with his reflection of the male stereotype as projected by women.

It was indeed a pleasure to eavesdrop on these four women whilst they told stories of men and mince, their dreams and aspirations as the shadow of the new laundrettes threatens their tight-knit community.

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