In the final leg of its 2026 tour, Tony Roper’s Scottish classic The Steamie plays at the King’s Theatre in Glasgow until 14 November.
First staged in 1987, the story is set on Hogmanay in early 1950s Glasgow, and focuses on four women as they work in a public washhouse, or steamie. Generally naturalistic in style, the relationships between the women are placed at the forefront, and we become immersed in their stories as they reminisce about the past, hope for the future, and complain about the present.
The action takes place in one place on one night, meaning that there are no distractions to prevent the audience from connecting with these characters. It is in these truthful portrayals of working-class women that the company really shines: each personality is distinct and layered.
Louise McCarthy has strong comedic timing as Dolly, who seems to come to the steamie to chat rather than wash. She has an engaging rapport with the fierce Margrit, played by Ali Cleland, and the two bounce off each other throughout.
Eden Barrie plays the earnest Doreen, who dreams of having a “hoose wi’ a bath” in Drumchapel, and her youthful hopefulness provides a contrast. Lesley Mackie is endearing as the elderly Mrs Culfeathers, who seems to be quietly getting on with her job, but is revealed to have more depth towards the end of the first act.
The main strength of The Steamie is its ability to be hilariously funny whilst still unpacking very real themes. Writer Tony Roper, directing the show one last time at the age of 85, has done a brilliant job. There is an excellent use of space, and physical comedy expertly complements the written gags. The humour is consistently allowed to sparkle, but moments of depth and connection between the women also shine through.
The only character who slightly lets the side down is Andy, played by Paul J Corrigan, the steamie’s supervisor who occasionally pops in to show the women his patter. There is nothing to fault in Corrigan’s performance, but the character itself doesn’t seem to particularly add anything to the story. He is not necessary as comedic relief, as the female characters provide enough of that on their own!
In amongst the naturalistic dialogue are a few songs, composed by David Anderson. Rather than taking away from the realism, these musical interludes are entirely in-keeping with the style. Even when acting as back-up dancers the women maintain their distinct personalities, and the solo songs allow the audience to gain insight into the inner lives behind Dolly and Margrit’s bolshy exteriors.
The Steamie is a warm-hearted, funny, and captivating show. It is the ultimate demonstration that all accents and dialects can be suited for theatre: in the spoken dialogue not a word is missed. The story is brought to life by a strong ensemble, and themes of family, friendship, disappointment, and hope are expertly woven throughout this cracking comedy.
Listings and ticket information can be found here
