Review: The Steamie – King’s Theatre, Edinburgh

Originally written and produced on stage in 1987 – and then televised in 1988 – The Steamie is a classic and was reputedly Scotland’s longest-running hit since 1911, launching or enhancing the careers of many household names, including Elaine C Smith and Peter Mullan. The revamped version, now touring Scotland, is directed by its writer Tony Roper, who says this will be his swan song, and features the classic songs by David Anderson.

Set in the ’50s, it offers plenty of nostalgia, but it is no romantic nonsense. Roper’s script may be set in a time and place many of us never knew or have long since forgotten, but plenty is still recognisable, and the grittiness and boldness of the women are brilliantly portrayed.

Kenny Miller’s set and costume designs are excellent, with great attention to period detail in both. I don’t suppose many people will be able to remember the steamies now, but if they didn’t look something like this, I’d be surprised. And the costumes certainly conjured up photos I’ve seen of women in the ’50s, all pinnies and turbans to keep their clothes and hair in order.

“Set in the ’50s, there is plenty of nostalgia here, but this is no romantic nonsense.“

The Steamie is a comedy for sure – a wee bit old-fashioned and slapstick, but the message resonates: these women may be physically reduced to seemingly never-ending drudgery, but their backbones – physical and metaphorical – are strong, and they stand for no nonsense, at least not from the menfolk they live and work with. They rule the roost.

**Production pics of *The Steamie* by Christopher Bowen**

The writing is witty and has stood the test of time. Times and technology may have moved on, but the sorority remains as strong as ever, watching one another’s backs and having a good laugh at their own situations as well as those of others. There is no spite in this play, and even when gossiping about the loose morals of another woman or the dirty state of someone else’s house, the women use humour to describe the state of affairs, perhaps understanding that there but for the grace of God go they.

Nostalgia, Pantomime, and the Music of The Steamie

No one’s life in this play is easy, which makes Doreen’s play-acting of how she would live if she had plenty of money and all mod cons all the funnier. She imagines life with all the things we take for granted nowadays – though I guess most of us could still only dream of having a maid to answer the telephone. Or even having a landline these days.

There are several pantomime moments in The Steamie. In the context of the play, they worked fine, but you have to be open to the naivety of the piece not to feel they’re a bit daft and unrealistic. The audience I was in loved them though, so perhaps it says more about me than it does about the play.

One observation I couldn’t help making though was that this was a pretty mature audience, and I wondered if it would appeal to youngsters at all. In my very early twenties I lived and worked in London and most weekends made the most of cheap tickets sold on the day from a box office in Leicester Square. I don’t know the demographic of most theatre audiences nowadays, but I suspect price and the almost ubiquitous revivals might not be attracting a younger set to do what I was so able to do back then. I don’t want to get stuck in nostalgia with my rose-tinted specs on, but I wouldn’t be writing this piece now if I hadn’t had so much easy exposure to wide-ranging theatre as a lass.

“The writing is witty and has stood the test of time. Times and technology may have moved on, but the sorority remains as strong as ever, watching one another’s backs and having a good laugh at their own situations as well as those of others.“

Back to The Steamie. With so many musical numbers, it plays much more like a musical than a straight play. The songs are fine, but I’m not sure what they add to the drama – with apologies to Elaine C Smith, who championed their inclusion. Louise McCarthy (Dolly) and Ali Cleland (Margrit) have fine voices, though I found Eden Barrie’s ‘musical theatre’ delivery as Doreen a little grating and couldn’t always hear the lyrics clearly. Perhaps this was in part due to what I felt was overly loud sound throughout – I felt like everyone was shouting pretty much all the way through.

I have to say though that all three, plus Lesley Mackie (Mrs Culfeathers) and Paul J Corrigan (Andy), were smashing and the whole thing really couthie. Which reminds me to say that if you’re not au fait with Scots vernacular, you might not get every nuance here – but I’m pretty certain you’ll get the gist anyway and enjoy it all the same.

If you want an affectionate, feel-good night out celebrating Glasgow’s indomitable spirit, this one is definitely for you.

Featured Image: The Steamie production image – Christopher Bowen