BRAES HIGH SCHOOL DRAMA DEPARTMENT
HIGHER DRAMA: CONTEMPORARY SCOTTISH THEATRE
“The Steamie”
by Tony Roper
Pupil Guide
Tony Roper
Tony Roper is probably most famous for playing Rab C Nesbitt’s friend “Jamesie” in the
BBC sitcom. He originally made a living as a miner, shipbuilder and brickie’s labourer before
studying drama. “The Steamie” was first performed in 1987 running for 6 months and
winning the Glasgow Mayfest award. It was subsequently staged in London in 1989. The
play has also been adapted for Channel 4 and continues to be shown on TV. Roper has
written a number of plays but The Steamie remains his most well-known. It has been said that
Tony Roper’s only grievance about productions of the play is when the play is performed
purely for laughs. The Steamie celebrates its 25th Anniversary in 2012 with a touring
production.
Introduction - “The Steamie”
'The Steamie', set in 1953, is a “slice of life” comedy/drama about four women trying their best to get
their laundry finished at the local 'steamie' (wash-house) on Hogmanay before the bells toll. The four
women are the talkative 'Dolly', the young and naive 'Doreen', the impatient 'Magrit' and the frail,
somewhat lonely 'Mrs. Culfeathers'. Men in the drama are represented in the form of the steamie’s
handyman 'Andy', who has a fondness for whisky and whom the women have wrapped round their
finger.
The women pass the time chatting about their families, friends, neighbours and people they know in
the community. They also share their happiness, sadness and their gossip. Dolly likes to talk about her
family, Doreen talks of her fondness for the movies and dreams of starting a new life in Drumchapel
with her husband 'John'. Magrit likes to talk about her life and anyone else's, whereas Mrs.
Culfeathers wishes her family weren't so distant and reminisces about the way things used to be.
Despite their differences in age the women have clear bonds of friendship. They tease each other,
laugh, make jokes, listen to each other’s stories, help out with the washing and forgive each other
their faults. This friendship gives us, the audience, a real sense of community and makes us feel part
of the gang.
One reason “The Steamie” is so accessible to an audience are the characters. We all know a Dolly, a
Magrit, a Doreen or a Mrs Culfeathers...and if we don’t, we are one! Audiences can identify with the
characters and their situations. They are ordinary people getting on with day to day events and making
the best of out what they have. Mrs Culfeathers represents the old Glasgow with her emotional and
nostalgic recollections, while Doreen represents the young person (she is 19) and still has dreams and
aspirations for the future. Magrit is in her late 30s and is at a time when all her energy is directed
towards taking care of, and providing for, her husband and children. Dolly is in her late 50s with a
grown up family and grandchildren. Dolly is a source of much of the humour in the text and is one of
the more lively characters. Andy, as the sole male seen on stage, represents the male perspective and
presents a, not entirely positive, view of men of the time. Gender issues provide another source of
humour for the women.
“The Steamie” is very much a conversational piece and provides a warm and affectionate tribute to
the community spirit of old Glasgow, or indeed any other town. The setting of Hogmanay is filled
with sentimental, nostalgic associations for every Scot and it is a ritual with which the audience can
identify.
The play is a comedy which relies heavily on popular tradition and variety theatre techniques. For
examples, the “Galloway’s mince” scene lasts for ten minutes of dialogue and relies heavily on the
actor’s timing to make it a success. Also, the use of song to break up the dialogue gives us a sense of
variety. In presentation the audience were welcomed to the theatre of venue by the characters so that
they felt they were part of the story. The play was criticised by some as having politics that were
humanist rather than directly socialist but maybe this contrast to so much contemporary Scottish
theatre was one of the reasons for its success. The play is political without being preachy –we see the
women getting on with things and making the best where they can. “The Steamie” provided a much
lighter and very nostalgic form of entertainment for audiences.
It is its focus on women and their lives that also sets “The Steamie” apart. The play provides a focus
for many issues of gender such as marriage and the family, women in power, relationships, symbolic
martyr.
The play exemplifies a number of trends of contemporary Scottish theatre, specifically
Social, Political & Religious dimensions; History, Nostalgia & Popular Tradition as well as
Issues of Gender.
Brief Character Outlines
Magrit McGuire late 30s, married to Peter with children. She’s sensible and pretty no-nonsense. She
likes to gossip and has an opinion on most things, especially when it comes to her neighbours or the
Doctor. Magrit is somewhat cynical and provides a character most of us will be able to identify with.
Doreen Hood at 19 she is the youngest in the group. She is very polite and respectful to the older
ladies, especially Mrs Culfeathers. She’s clearly quite new to this lifestyle and can, initially seem a
little nervous but soon she is showing an ambitious side to herself where she wants to move out of the
house she lives in now to a nicer place in Drumchapel with some of the finer things in life. As yet her
enthusiasm hasn’t been dampened by the monotony of life.
Dolly Johnstone is one of the most comedic characters. Her antics provide a great source of
amusement, and sometimes despair, for the rest of the characters. She’s quite forceful and stands her
ground on a few occasions. She’s friendly, lively and helpful –repeatedly offering Mrs Culfeather’s
help with her washing.
Mrs (Molly) Culfeathers is the quietest member of the group steadily getting on with her washing as
the others gossip. Despite not being as young as she used to be, Mrs Culfeather’s still takes in other
peoples’ washing to earn some money for her and her husband. Her children have moved away down
South and we learn that she has never been invited to see them, nor do they visit. This is something
which shocks the other women. Mrs Culfeather’s represents the older generation which, so often, can
be overlooked and left behind with the pace of life. This character is particularly powerful in terms of
emotional impact as she forces us to contemplate our own conduct in relation to the elderly. More
often than not we find ourselves, as a society, coming up short.
Andy the steamie handyman who likes to think he’s popular with the ladies and perhaps he is but not
for the reason he thinks. The women see Andy as a bit of a daft laddie. He banters with the ladies and
tries to turn on the charm, more often than not he ends up getting himself in bother.
Plot Overview
Act 1
Around 7pm, Hogmanay– 1950s– A bustling Glasgow “steamie”– The women are doing the last
washing of the year before heading home to celebrate Hogmanay. They chat, gossip and give us an
insight into their family, friends, community and day-to-day lives. Key scenes in Act One involve
discussion of the Doctor; Doreen’s aspirations for a house in Drumchapel; Mrs Culfeather’s sobering
and nostaligic reflection of days gone by on “Glesca Green” and the gradual loss of community and
the loneliness it brings. The first act is comedic but also involves a lot of social, political commentary
as well as a somewhat mournful tone as it highlights the loss felt by Mrs Culfeathers and demonstrates
how, with the advent of TV and washing machines in homes, this way of life and sense of community
will continue to decline. We get a real sense of loss as we are made aware that the one thing tying this
group of women together is the Steamie and without it they will have fewer people to rely and
connect with. This is particularly noticeable through the character of Mrs Culfeather whose family
have all moved away leaving her to look after herself and her ailing husband. These issues are
supplemented and the dramatic impact enhanced by the inclusion of songs such as “The Big Picture”,
“Dreams Come True” and “Pals”.
Act 2
Act Two opens on a similar note as Dolly sings “Cry”. This song gives a real insight into a character
who seems to happy and full of life. To see such a strong character also affected the trials and
challenges of life as a wife and mother again highlights the issues facing women at this time and their
emotional impact. The comedy soon returns, however, as we launch into Dolly and Mrs Culfeather’s
conversation about Dolly’s trip to the Whiteinch Steamie. This section culminates in Dolly hiding
under a sheet to avoid Andy as she takes a bath in the sink. This scene is extremely humorous and
contrasts with the emotion at the start of the Act. It also reminds us just how close the friends are and
how supportive they are of each other, whatever the situation. This increases the sense of loss we feel
as we are aware that steamies, and the communities they fostered, no longer exist. We see “Women in
Power” in action as the women, especially Magrit, manipulate Andy into thinking he has offended
Doreen and quickly force him into repeated apologies and an offer of “first turn at the wringer aw
next year”. As the women return to their washings there is a brief discussion about religion. The fact
that this scene is so brief tells us that religion, perhaps, does not play as big a part in the women’s
lives as expected. Magrit’s explanation of her husband’s devotion to religion is particularly telling:
He does aw his confessin’ tae the money-lender and the bookie. The only
connection
he’s goat wi’ religion is staunin’ at Parkhead shoutin’ aboot King Billy wi’ the rest o’ the ijiots.
The women then continue to chat and gossip as they work, commenting on the behaviour of people
they know in common (continued in the song “Pride”). This, in particular, gives us a real sense of,
despite their complaining and joking, just how seriously the women take their responsibilities as wives
and mothers. They have self-awareness and know that they are no better than anyone else but they do
have standards and have little time for those who don’t respect and take care of themselves and their
family. This leads to one of the most famous comedic scenes from The Steamie -Galloway’s mince.
This scene is lengthy and seemingly unimportant in terms of plot, however, it does highlight just how
close the women are and also how much respect they have for Mrs Culfeathers. All the women take
time out of their washing to listen to her and even though Magrit cracks and shouts at how ridiculous
the story is she is very quick to apologise -thus highlighting her respect for her elders and reminding
us that we, as a society, should be more respectful. The others think nothing of Magrit’s outburst and
it’s a mark of how close they are how quickly they return to laughing and joking as they finish their
washing. A final comment on Gender and the family is provided by Magrit as a stocious Andy
appears. Her monologue about how wonderful it is to be a woman is laced with sarcasm and humour
while highlighting just how tiring and never-ending a woman’s role is. The women take care of Andy
and start their celebrations as the steamie is filled with the sound of women singing. As the women
exit, Dolly and Doreen reflect on the evening and we end with a final, nostalgic song -“We Wish You
All You Wish Yourself”.
Analysis
This analysis is by no means conclusive. You should add your own notes and analysis.
Remember, writers communicate their message in a variety of ways [PALS] and you
should explain yourself clearly [PEA].
SOCIAL, POLITICAL & RELIGIOUS DIMENSIONS
"Steamies" could be seen as a 'weekly club' where information and gossip were exchanged. This was the
women’s' only opportunity for this type of meeting. It was a necessary visit as there were no washing
machines. The washing was transported in many ways e.g. by pram or on the backs of men and children who
were often paid for this service.
Larger families meant larger washings. Women did not retire at sixty and no apparent support network was
available to help. Social status was often defined by employment and degree of cleanliness. Women were
aware of their situation, the unfairness of it yet seemed powerless to alter it. Cultural aspirations are linked to
cinematic observations. This could be interpreted as escapism. Social commentary on life in a tenement is
exemplified in the song "Dreams".
All the songs deal with social and political issues involving the women and their families.
A question to have in your mind whilst you are studying the following points that deal with social conditions in
The Steamie might be – ‘Does The Steamie make statements regarding society that are relevant today?
SOCIAL BACKGROUND & CONDITIONS
Care of the Elderly
“we never bother wi’ Hogmanay noo he, wi’ the family away…it’s no the same” p.206
“If you’re needin’ a wee hand noo…just gi’e us a shout” p206
“Excuse ma language Mrs Culfeathers” p.211
Doreen -
She’s been here since wan o’clock. Imagine havin’ tae take in washin’ at her age.
Y’ed think her family wid help her oot
Magrit-
Ah know. It’s a disgrace, she’ll no hear a word against them either.” p213
[Poverty also]
Mrs Culfeather’s says nothing throughout the phonecall scene/says very little at the start of
the play. This could by symobolic as to how she’s ignored/forgotten about. This is emphasised
when she does say something:“Ah it doesnae matter, there’s naebody would be phonin’ me anyway”
p224 This is quite a poignant ending to a humourous scene.
“I hope you don’t think I’m cheeky, I don’t mean tae be, but it’s jist that the way yer talkin’…are
you feeling lonely?...if it’s none o’ my business just tell me tae shut up. I just wondered if I could
maybe help.” Doreen to Mrs C p230
“when yer family’s moved away, and ye don’t see them, it’s awful empty. D’ye know, I’ve got three
great-grand weans…and I’ve never seen them // …They’ve never asked me…but I’d like to
see…(she breaks down)” Mrs C p231
Doreen:
That’s a bloody shame.
Dolly:
They want their buckin’ arses kicked. Never mind ye’ve goat friends all roon ye
here. p231
“Are ye needin’ a wee haun there?...Ach I’ll gie ye a haun anyway. Ah’m finished here.” Dolly p234
Mrs Culfeather’s doesn’t normally have people to talk/listen to her so she gets quite excited when telling
the mince story. This could be an indication of just how lonely she is.
Mrs Culfeather’s is addressed by all as, “Mrs Culfeathers” showing their respect.
Magrit:
I’m sorry I shouted Mrs Culfeathers.
Mrs C:
Ye don’t need tae apologies tae me Magrit.
Magrit:
Oh yes I do…my mother and father brought me up to respect my elders…if they
deserved it…and you deserve respect Mrs Culfeathers. Yer a find old woman and
I’d nae right tae shout at ye. So I hope ye’ll accept my apology. p255
“I’ll gie Mrs Culfeather’s a wee haund tae finish up. How ye getting’ oan? Ye managin’ alright?”
Doreen, p260
“I’ll gie ye a haund doon wi’ yer pram Mrs Culfeathers.” Magrit p261
Sense of Community/Friendship
“D’you know Cissy Gilchrist? ….Aye you dae” pp.204/5
“Aw right ye daft wee bugger.” p217
“That’s what ah like aboot the steamie, yer aye busy and there’s aye somebody ye know tae talk
tae” p228
“Jenny says when she goes in she never knows anybody. Aw ye dae is sit and stare at the
machines. Naebody talks tae wan another except maybe ‘it’s a cold day’ or ‘have y goat change of
a shillin’ .” p229
Dolly:
That’s what it’s all about this time o’ the year, ye meet people ye’ve never met
before.
Andy:
Aye…an usually hope ye never meet them again.
p227
“ye could go and have a wee blether anytime ye felt like it, anytime except Sunday. The men
used tae play the fitba on the Sunday, but it was a great meetin’ place. There was never any
loneliness in that place, naebody seemed to be lonely then.” Mrs C, p228
“That’s what ah like aboot the steamie, yer aye busy and there’s aye somebody ye know tae talk
tae.” Dolly, p228
“it seems as if people are no aw-the-gither, as they used to be” Mrs C p229
“Ah think friendship wi’ a lot of people is gonnae be impossible. Friendly wi’ wan or two is all we
can hope for.” Mrs C p229
“This time for the first time, I’m gonnae drink it, tae toast you three…for being ma pals…To
pals.” Mrs C p233
There is an entire song devoted to Pals signifying the importance of community and friendship to the
women.
Mrs Culfeather’s has been getting her mince from Galloway’s for over 20years. How many of us can say
that?
Doreen and Dolly take time out to help Mrs Culfeather’s work out the mince mystery showing they care for
and respect her.
They even look out for Andy “We’d better do something aboot him.” Doreen p258 Dolly says he can
go up to hers when he comes round.
Change – Old v New/Young v Old
Dolly
She says naebody talks while it’s oan.
Magrit
Christ that wouldnae suit you Dolly eh?
Dolly
Naw…I like to hear people talkin’
p221
“They’re closin’ aw the steamie’s doon, they say laundrettes are gonnae take over.” Doreen, p228
“Jenny says when she goes in she never knows anybody. Aw ye dae is sit and stare at the
machines. Naebody talks tae wan another except maybe ‘it’s a cold day’ or ‘have y goat change of
a shillin’ .” Dolly p229
“Ah think it would be great tae just pop round and watch a television set, and have aw yer
washin’ done fur ye by a machine.” Doreen p229
Dolly and Mrs C don’t see the point of “leisure time”, as Doreen calls it:
“ye no daein’ something, yer jist watchin’ other people daein’ something…I like to be busy and in
amongst people.” Dolly p230
“I just feel as if I’m finished.” Mrs C
Mrs Culfeathers doesn’t understand the scented bath or notion of pampering yourself. The older
generation is unused to this whereas the younger generation in post WWII bomb perhaps has more
disposable income and time to be able to do this.
“Ye’d never have a night like this in a laundrette eh?” Dolly, p261
Respect for self/Sense of pride
There are certain standards that people are expected to conform to in terms of decorum, respectability
and cleanliness.
Doreen:
It’ll no be a white weddin’ that.
Dolly:
Naw, they’re a bad lot them.
Doreen:
It’s weel seein’ she had tae go oot the district tae find somebosy that didnae
know her. Has she no had a wean already?” p245
“nane o’ us have goat much money, but there’s nae excuse fur thon. Ye can aye afford a bar o’
soap can’t ye?” p248 [Health & Hygiene also]
“noo I’ll say it masel ma hoose is nae palace, but how any woman that calls herself a woman could
let things get intae that state” Magrit p248
“She says n’this is ma hand tae God. ‘Ye’ll need tae excuse the mess, but I havenae goat rooned
tae ma cleanin’ the day’.” Magrit p249
“If we don’t have some self respect we
Might as well be in the ground
If we’ve nothin’ else at least
We’ve got our pride.” Pride p272 –make sure you look at this song!
“I’ll gie the stall a quick wipe o’er.” Dolly p261
Poor Health & Hygiene
Dolly washing the blankets by standing on them in the sink “This’ll save me washin’ ma feet the night”
p219
“he always has a good wash though, and he goes tae the baths twice a week” p220
“he has wan twice a year…see the boys…they’ll no wash themselves. It’s a fight to the death
every night.” P220
The peat bath incident p236, Mrs Culfeather’s points out the potential health risks:
“Ye never know who could’ve been in afore you Dolly. …Ye could catch something fae that.
…That’s near the dry docks and aw oot there, ah mean, there could be seamen fae God knows
where using they baths, an there’s aw they bad women, hangin’ aboot there as well.” p236
Doreen:
She’s filthy dirty as well.
Dolly:
They’re aw mingin. The Sanitary’s never away fae them. p247
“I always felt sorry for him. He’d tae sit by ‘iself because he’d beasts in his head, he’d had his
head aw shaved, a’ that blue stuff dabbed oan it…but he was no a bad lookin’ boy, y’know if he’d
been turned oot right.” Doreen p247
“Ye wipe yer feet when ye go oot o’ thon hoose.” Magrit p248
“they’ve got a cat, supposed tae be fur mice, but ah think it’s rats” Magrit p248
“this cat had…shit oan the flair and she’d just left it lyin’ there…ah cannae tell ye whit the smell
wis like. Ah wis…ah wis just aboot boakin’”. Magrit p248
Very Little Leisure time
Drink is repeatedly mentioned, usually in connection with men, however this highlights its
importance in society of the time. When the women drink it’s usually a special occasion (see Mrs
C quote above in Community).
Cinema
Dancing
Football for the men, the women talk about it but don’t really get it.
Social class
Magrit’s bawdy humour indicates her class – p215
Dolly:
When we were daein’ the lean-back he could get his leg in atween mine faster
than usual.
Magrit:
Nae fool Andy Wilson eh? p216
“Ah think ah’m getting’ another wee corn in there. Naw, it’s just a bit o’ hard skin.” p218 –this is
not something you would talk about in polite company.
Transport
The woman had to carry their washing in old prams and walk to the steamie; they didn’t have cars or
enough money to pay for a taxi.
Technology
Nobody had washing machines so they had to go to the steamie.
The woman play-act an imaginary house with all the modern appliances now available. They cannot afford
them, and can only dream.
Telephones, fridges, washing machines and televisions were all thought of as luxury items only 50 years ago
NATIONALISM
The play does not reflect a feeling of nationalism but is seen more as a ‘class play’. There are no particular
characters with nationalistic attitudes and viewpoints but there are passing references to ‘the English/British’.
There are no references to set, props or costume which would communicate a feeling of nationalism.
INDUSTRIAL RELATIONS & THE WORKPLACE
The text explores personal relationships in a working environment rather than relationships in the workplace.
Although Magrit mentions going to get the “Manager”, and Andy fears it, there’s a sense of “them and us”. The
girls like Andy in part because he doesn’t do things strictly by the book.
POLITICAL THEATRE AS ENTERTAINMENT
Two versions of the play are available. The addition of songs by Wildcat gave the production a political element.
Some Scottish audiences relate to this type of theatre because it puts forward a particular viewpoint.
RELATIONSHIP BETWEEN THE INDIVIDUAL & THE ESTABLISHMENT
Contempt for Authority
Those in positions of authority aren’t generally well liked,
“he thought he wis something, he’d wan o’ yon awffy toffy voices…aye naebody liked him” p.205
Little attention is paid to rules/regulations
“There’s a sign saying NO OVERALLS OR GREASY OBJECTS TO BE WASHED IN THE STALL.
Dolly makes sure no one is looking and packs in 3 pairs of dungarees.” P.204
The women don’t get on well with the Dr, thinks he looks down on them
“he just gave me one ae they stupid wee smiles o’ his, ye know thon wey as if tae say yer now
right in the heid” p211
“he a plausible wee swine”
Andy’s the “authority” in the steamie but he has no control over the women, he’s mothered by
them, called “son” by Mrs Culfeathers.
A – No drinks allowed in here.
M- How did you swing it then? P.217
People tend to deal with issues without involving the authorities, or the authorities are reluctant
to get involved, “Don’t call a cop, remember what a telt ye/ They’ll say domestic” p269, Pals. Also
in the song are digs at the Government and religion.
DISTRIBUTION OF WEALTH [discuss this with Social Background & Conditions]
Uneven Distribution of Wealth/Poverty
The Doctor and his wife have a lovely Irish linen tablecloth –Doreen says she’d be frightened to put
anything on it for fear of ruining it.
The girls talk about all the things people in America, the posh houses have that they would like –
“See in America, they’ve aw goat them in the hooses but they call them showers”, p220
“Some ae the big hooses in Dalmeny Crescent have them” [TVs] p.220
Doreen:
That’s ma dream, a hoose in the country wi’ a television, a bath, a phone an’ a
garden as well.
Magrit:
Christ yer no wantin’ much are ye?” p.220
Doreen:
Ah’ll get it eventually Magrit, ah’ve put ma name doon fur a hoose in Drumchapel
Dolly:
Ooh, she’ll no be talking to us eh, Magrit?
p221
“Could I perhaps have a word with Mrs Doreen Hood?” p221 –taking the mick out of people living
in the posh houses. They become less colloquial, more formal, adopt a posher accent.
Doreen lists all the things she has in her imaginary Drumchapel house… terrazzo marble, French
windows, a thick pile on the carpet, radiogram, refrigerator, washing machine. Each word is in
italics to draw attention to it, make it appear grander. Think about what items you have in your
house, do these things sound particularly impressive?
“She’s in the sandstone flats. They’re lovely, hellovah clean lookin’ so they ur, an’ the closes are
all well looked after…they’re aw tiled closes where she is…they look as if it was doctors that
lived up them at wan time.” Dolly p234
The steamie in another area has far better facilities: “the stalls are aw thon Bakelite,
beautifully white, and the wringers are aw chrome.” Dolly p234
“an when ye have a bath they’re scentit.” Dolly p235
When Dolly goes on holiday so doesn’t go to some exotic location, she goes up the road and she STILL goes
to the steamie to do her washing. p234
“All the things we do have
They were bought and paid for, working
With the fruits of honest labour” Pride, p272
“that’s a bought hoose y’know” Mrs C, p250
“ye get the weans ready and oot the hoose lookin’ as tidy and well dressed as ye can afford.”
Magrit p257.
“When you live in a room and kitchen” p263 [The Big Picture]
SECTARIANISM
Attitudes to religion
“When wan o’ youse die, dae they stay in the hoose tae they’re burriet?” p.207
Magrit-
…that’s God punishing me.
Doreen-
Will you need tae tell that when ye go tae confess?
Magrit-
Naw. It would be too complicatit tae try tae explain it aw tae the Priest, I’ll
stick in something else. That’ll make up for it. p215
Dolly’s quite inquisitive about the Catholic faith. She asks a lot of questions and Magrit answers
them. Their friendship shows that although they are of different religions, it’s not really an
issue.
Religion is not strictly adhered to “Aye…well it is a sin, but it’s no as bad as that. They don’t
take ye oot and shoot ye, yer jist no supposed tae dae it.” Magrit p243
“in theory ye shouldnae have tae dae it mer than wance, cause ye promise never tae dae it again,
but of course it never works oot that wey, so it’s usually aboot wance a week.” Magrit p244
“Peter does all his confessin’ tae the money-lender and the bookie. The only connection he’s goat
wi’ religion is staunin’ at Parkhead shoutin’ about King Billy wi’ the rest o’ the ijiots.” Magrit p244
DEVICES USED TO COMMUNICATE SOCIAL, POLITICAL & RELIGIOUS MESSAGES
Although Glaswegian dialect is used rather than Scots, no feeling of nationalism is created.
The songs, which were added by Wildcat make an emotive, social and particular political statement.
The text contains Glaswegian dialect and is used consistently by every character. However the songs are not
consistent in their style of language, e.g. Standard English and colloquialisms appear.
ISSUES OF GENDER
SYMBOLIC MARTYR
“she is efficient but the others are quicker because they are stronger.” P204, this shows the
women do this job regularly and are quite hardworking.
Glesga Green = washing/work for women and football/fun for the men.
RELATIONSHIPS
Relationships between the women are positive, they all say “hello” when they arrive and they
know each other’s name.
“Can ye no find yer ticket hen?” the term of endearment shows the women are close/friendly.
The women look out for each other, “Ye’re welcome tae come up tae us ye know” Dolly p206
“he’s lying up there drunk already, oot the game, sick o’er the carpet, pig. His breath’s like a
burst lavy, ye could strip paint wi’ it.” Magrit p207. This shows Magrit’s anger and frustration at
her husband. He appears to be extremely fond of drink and pretty useless. [Men & Power,
Marriage & The Family]
Peter is a stereotypical man. “Peter says it was the first two things he noticed about me.”
Magrit p210 talking about the size of her chest.
“It’s the doctor’s wife’s” –Mrs C, p210. Women are described by their relationship to a man.
Andy calls Mrs Culfeathers “Mrs Culfeathers” showing respect for her age and gender. She calls
him “son” showing her maternal nature.
Men are stereotyped as being dirty/dirtier than women:
“he’s mingin’ when he gets home” Magrit p219
“see the boys…they’ll no wash themselves. It’s a fight tae the death every night. Ye want tae
see their shirt collars, ye could plant tatties in them.” Magrit p220
“Aye men are aw clatty in their persons.” Dolly, p220.
When all the women have 1 drink, Andy has 2 again linking men and drink. Also, the women (with
the exception of Dolly and Mrs Culfeathers who doesn’t normally drink) drink sherry while Andy
drinks whiskey p224.
Mrs C:
I’ll take a whiskey though…
Magrit:
Ye know ah’d never touch this fae wan year tae the next.
Dolly:
Me an aw, unless it’s an occasion. It’s a man’s thing really i’n’t it?
p232
“Heh. Language you…there’s ladies present” Magrit, p226. This shows there are different
standards/expectations for women/men. Women are deemed more sensitive, men more coarse.
This also highlights women & power as Magrit tells Andy off.
Magrit does not speak positively of her husband “Ma Peter would drink it oot a shitty cloot.”
p232 portraying him as a useless drunk. This leads us to question if he’s so useless, why is she
with him? –social standards/religion? (once you’re married you stay married/divorce is a sin) or
is it because she genuinely loves him?
Magrit shows disdain for her husband and what he gets up to “He does aw his confessin’ tae the
money-lender and the bookie. The only connection he’s goat wi’ religion is staunin’ at Parkhead
shoutin’ about King Billy wi’ the rest o’ the ijiots.” p244.
Stereotypes, traditional roles –men like football, women don’t understand it p.244 This
stereotype can still be seen today although less so.
Women again represented as gossips, they gossip about men but also about other women can be
a bit bitchy: “Bella McNaughton saw her. Of course ye know what Bella’s like” p246
“I’d heard she was hawkin’ herself but I didnae know it was true.” Doreen p247
“how any woman that calls herself a woman could let things get intae that state” Magrit, p248.
Certain standards are expected from women, they take pride in taking care of the house and
their family and look down on those who don’t. [Marriage & The Family]
“He doesnae know wan butchers fae another…they’re aw jist butchers tae him. Ye know what
men are like.” Mrs C, p251. Stereotypical roles men don’t pay attention to food, shopping etc.
“Aye if you take him the right way…by the throat.” Magrit, p256 [Women & Power]
OPPRESSION & SUFFERING
All the female characters are expected to do all the work in the house: taking care children, making the meals,
doing the housework.
Mrs Culfeather’s family have left her to look after herself and her husband. She has to take in washing to earn a
living at an age when she should be slowing down.
WOMEN & POWER
Women are represented as gossips, “did you know Cissy Gilchrist?” they know everyone’s
business and spend their time discussing it. They’ve barely started their washing before the
gossip/chat begins. p204/205
Women are shown to be powerful or callous as she responds to Dolly’s comment about Cissy
Gilchrist’s dead husband with humour:
Dolly:
said he’d passed away leavin’ a grievin’ wife.
Magrit:
Nae money?
P206
This goes against the stereotypical role of women as the more sensitive sex.
All the women end up crying when Mrs C explains how she feels lonely and finished. This
conforms to the stereotype of women being the more emotional sex.
Andy:
I didnae mean it the wey ye took it, look I’m sorry.
Magrit:
Don’t apologise tae me, it’s that wee soul at the back o’ ye ye should be sayin’ yer
sorry tae…she’s nearly in tears. (Looks at DOREEN) Sure ye ur Doreen?
Doreen:
(twigs, puts on petted lip). Ah’ll be aw right Magrit. (Sniff sniff).
Andy:
(crosses to her) I’m awful sorry Doreen, I honestly didnae mean it.
p240
This shows women using their stereotyped sensitivity to their advantage. Andy falls to pieces
when faced with a crying woman and becomes putty in their hands. This shows how the women
can, in a way, manipulate the men showing them in a position of power.
“Best line of defence is attack. My mother taught me that.” Magrit, p242. Magrit’s a strong
woman obviously from a family of strong women.
“She wis a hard workin’ woman auld granny McCandlish…Of course her man died young, and she’d
tae bring up the family on her own.” Mrs C, p250 a number of strong women are represented.
Despite being widowed granny managed to get enough money to buy the house the family lived in,
no mean feat.
MEN & POWER
The first time men are mentioned, it’s unfavourably “her husband was a wee society man here
for a long time…he was a right wee messen”, “naebody liked him”, “stupit wee swine” Dolly p205
When Mrs Culfeather’s talks about Mr Culfeathers not being the man he was, this could be
symbolic for men in general.
Men are represented from the outset as drunks “Ma Uncle Harry died on New Year’s Day…He
was drunk and fell doon the stairs.” Dolly p206.
When Magrit talks about her son stealing her fags Doreen suggests “Ye should tell his faither”
p212 showing that men are expected to be the powerful force in the family. Magrit subverts
this however with “I will…the first time ah catch him sober.” P212 showing that perhaps
traditionally men have been the powerful ones this is not the case for her.
ROMANTIC HERO
The women talk about their love of the American moviestars. This links in with their dreams and desires for a
better life.
RELATIONSHIPS BETWEEN THE INDIVIDUAL AND THE ESTABLISHMENT
The male doctor the women go to is not well liked and doesn’t appear to have a good way with
the women: “He’s bloody useless him, no matter whit you go tae him wi’, he tells you it’s yer
nerves” p210. Does this perhaps show a misogynistic attitude to women? It certainly shows a
poor relationship between women and a man in authority.
MARRIAGE AND THE FAMILY
The importance of the family to women is highlighted when Mrs Culfeather’s explains that she
doesn’t really celebrate Hogmanay any more “wi’ the family away…it’s no the same” p206. It’s
almost like her life has finished since her family left.
Some stereotypes are represented as Doreen describes her Christmas present from her
husband showing her to be quite a girly girl, “John gave me a dress and money tae get ma hair
done” Doreen p208.
All of the women in The Steamie are married therefore conforming to traditional roles in
society of the wife. 3 of the women are also mothers/grandmothers/great-grandmothers again
conforming to society’s expectation of women as wives and mothers.
“Her faither torments the life oot o’ her ‘n’ aw cause ue know how she’s awful like him” Dolly,
p209Dad’s represented as the fun/embarrassing role .
Magrit cares greatly for her kids, this is shown when she talks about nearly crying when she
gives her daughter her first bra:
“oan Christmas morning ah took her aside an gave it tae her privately, she was nearly greeting
she was that happy, she says tae me ‘Mammy that’s the best Christmas present I’ve ever had’. I
was near greetin’ masel. She says ‘Ah cannae wait tae get back tae school ‘n’ show aw ma pals’.”
Magrit p209 This shows the close bond between Magrit and her daughter, something special
that they shared together. [Also, Sexual development of characters- This shows the importance
of the transition from girl to woman for women of the time.]
“Imagine havin’ tae take in washin’ at her age. Y’ed think her family would help her oot.” Doreen,
p215. This shows that family responsibilities are taken seriously and that the women feel a duty
to their family.
“they wantit fur nothin’ they two. Of course the old fellah had a good joab…she’d aye a big bag o’
messages every Saturday. Never ony tic. N’a lovely hoose tae.” Magrit p213. This shows the
traditional roles in the family: the father going out to work/breadwinner while the mother
provides a comfortable home and feeds the family.
No sex before marriage was still expected if not strictly adhered to.
Dolly:
Noo ah’ll dae the lean-back, right stick your leg in.
Magrit:
Ah think that is us engaged.
p216
“It’ll no be a white weddin’ that” Doreen, p245 shows that sex before marriage is frowned upon.
“Naw, we werenae long enough mairried fur him tae be mad.” Doreen, p256.
“They were aw sayin’ what a devoted couple wi were…if only they’d known.” Magrit, p256.
SEXUAL DEVELOPMENT OF CHARACTERS
Dolly’s grand-daughter and Magrit’s daughter want to be pretty and womanly. Wee Angela is
terrified her feet will get bigger making her more like her dad, something he teases her about.
This upsets her greatly because it’s not something particularly feminine to have large feet.
Theresa, Magrit’s daughter, is desperately trying to increase her bust and even does exercises
“I must, I must, I must increase ma bust” Magrit p 209 something that is associated with
womanhood and femininity.
“He should’ve goat ye an ice lolly…at least it would’ve been the right shape.” p215 The fact that
Magrit make this coarse sex joke, and the fact that Doreen laughs, shows that women aren’t
sexually naïve. It also goes against traditional stereotypes in that, her comment is sexual and
crass –something you would traditionally associate with men and not ladylike behaviour.
NOSTALGIA & USE OF HISTORY
Setting (unity of place):
The ‘Steamie’ is a public wash. These buildings consisted of cubicles and basins to wash your
clothes in, wringers and driers. These no longer exist. The set design suggests a realistic set
that shows a real steamie to the audience. The setting harmonises with the nature of the
characters and the period (i.e. four working class woman in the early 1950’s) and renders
them equal. The setting represents a necessary part of their lives (doing the washing) and a
common need for escapism. It is a familiar environment, which in itself does not set up
tensions: the characters can be open and intimate with each other, and behave naturally,
demonstrating a closeness not possible in other contexts.
The set of The Steamie is in a constant and closed location, exclusive to woman, into which
the outside world is unlikely to impinge. The set also offers a context for habitual, ritualised
behaviour which is in itself interesting, but which also creates a physical and atmospheric
‘back drop’ against which the characters stand out in relief. It throws the focus onto
characterisation and relationships rather than plot. It is a metaphor for a bygone age – one
with which audiences can either identify or think they can. It is a bygone age of low-tech
domestic female drudgery.
It is also symbolic of an unselfish sense of community that has been lost or destroyed due to
factors such as urban ‘improvement’ and technological advances.
Mood & atmosphere
The sense of community generated by woman coming to do their washing in the steamie.
Although it was very hard work, it could be argued that it was a form of escapism. For a
short while they could be amongst other woman who could sympathise and empathise with
each other. They helped and encouraged each other forming what would in effect be called a
support group today. It was also the place for a right good gossip.
Time setting
The 1950’s were a time of great social upheaval and change. The cities were beginning to
change with people being moved out to newly developed area out with the city. The time
setting of the play is not just of another New Year but a wind of greater social change that
was taking place in the 1950’s.
Hogmanay is a time of nostalgia and sentimental associations for most Scots when there is a
natural inclination to look both back and forward, to anticipate with optimism and to regret,
to take stock and to ebb and flow into each other’s personal space – this common perception
allows the characters to refer to themselves and their lives, their joys and their tribulations
unselfconsciously.
It is a symbolic time of cleansing and renewal that mirrors the location.
Characters
The four generations of woman represented in the play give the audience a perspective on
each stage in a person’s life. This works on a member of levels. It shows the older
generations what they were like when they were young, and the younger generations are
reminded of what older relatives were like when they were growing up.
DOREEN - The Young Wife.
 She is fashion conscious and is aware of the trends of the day.
 She knows about the movie stars e.g. the American movies and the appeal of Tony
Curtis with his ‘fantastic haircut’ and his ‘smashin clothes tae’. She dreams of a
better life in a house in Drumchapel with all of the latest household gadgets and
appliances - televisions, showers, refrigerators etc.
 She is representative of the new generation who were determined to have a better life
than the generation before. The country was by now getting back on its feet after
the war and she would remind those of the hope and determination of a generation
that didn’t have to cope with war - those who were free to live their life in a free
world.
DOLLY – The Middle Aged Wife (with a grown up family)
 The older wife and mother whose family have all moved away. She is prepared to use
the steamie for purposes beyond the normal bounds e.g. washing herself in the sinks
and putting greasy overalls in with her washing.
 She likes to be helpful and thinks of others before herself. She is also a real talker
who jumps at he chance to have a ‘blether’ with anyone.
MAGRIT - The Hard Working Wife and Mother
 She directs all her energy into working for her husband and children and is devoted to
her family. She talks about getting her daughter her first bra, reminding us of the
pleasure a mother derives from sharing the once in a lifetime experiences that
happen as a result of bringing up children.
 She has the cynicism of a person who has had a hard life and can be impatient with
hose whom she sees as weaker e.g. Dolly and Mrs. Culfeathers. However, deep down
there is a softer person who was brought up to respect her elders. We are reminded
of this when she apologises to Mrs. Culfeathers for shouting at her.
‘Yer a fine woman…you deserve respect Mrs. Culfeathers’
 She sticks up for Dolly and helps her hide from Andy when she’s in the sink washing
herself. She also helps Mrs. Culfeathers with her pram at the end of the evening.

Her monologue/song ‘Isn’t it wonderful to be a woman?’ sums up a day in the life of a
working class wife and mother form tenement life in 1950’s Glasgow.
MRS. CULFEATHERS – The Grandmother

As with most grandmothers of the time she is working harder than ever. Her family life
is sad for a variety of reasons. Her husband is not well and her two sons give her no
support.

She washes clothes for others and has been in the steamie for 6 hours on Hogmanay.
She has 3 grandchilden in England whom she has never seen.

She is fond of talking about the past and her good memories. She talks about Glasgow
Green, and how nobody used to be lonely.
“There was never any loneliness in that place, naebody seemed tae be lonely then.”
Technology:

The use of steamie itself was necessary as nobody had the modern appliances that
everyday households do now.

The play-acting of Dolly, Doreen and Magrit over the house in Drumchapel reminds us
of a time when people had to find other ways of entertaining themselves.
Use of song:



‘Dreams’ reminds us of a time when new opportunities were within reach. It also
reminds us of a time in our life when everything was ahead of us and the only limit to
the possibilities was your imagination.
‘Pals’ reflects on how you can always rely on your friends. These friendships were made
and sustained by the meeting place of the steamie.
‘Isn’t it wonderful to be a woman’ whilst railing against the shortcomings of their
husbands, does talk about the joys and rewards of being a devoted mother.
Language:

The woman use words such as simmit, lobby, press, tick, stoor, radiogram. These words,
while still used in some parts, remind us of a more innocent time.
Structure:

There is no real storyline to the play. It is made up of anecdotal scenes. This reminds
us of the experience in the steamie, which was as much about avoiding work as it was
about engaging in idle banter!
POPULAR TRADITION
The play is
as:













a comedy, which relies heavily on popular tradition and variety techniques, such
Sentimentalising a ritual
Changing from humour to pathos
Use of comic routines, e.g. comedy double act with use of feed; patter.
Punchlines
Vernacular and local references
Use of timing
Theatrical business
Visual comedy
Monologue
Songs*
Gags and long running jokes
Sketches and set pieces
Use of stereotypes.
*not in original text - added by Wildcat Theatre Company.
Sentimentalising a Ritual

The introductory music and the dialogue set the play at Hogmanay, which
immediately awakens sentiments and brings to mind familiar associations to a
Scottish audience. In most Scottish households, people buy in drink, clean the
house, do the washing and make general preparations for the New Year starting
after midnight References to these preparations are made throughout the text.
There's an air of anticipation. Most people are with, or think of, their families
at "the Bells" heralding the New Year. This of course highlights any feelings of
loneliness in individuals who are not with their families as with Mrs Culfeathers.
Changing from Humour to Pathos

At the end of Act I. after the tearful scene when Mrs Culfeathers explains
about not seeing her family, the mood changes quickly to comedy with a few gags
about drinking whisky. The act ends with the sentimental song. "Pals".
Use of Comic Routines/Double
Jokes/Sketches and Set Pieces
Act
with
Use
of
Feed/Gags
and
using
Running

These occur throughout the play. Two examples of these are the phone sequence
and the Galloway's Mince routine. For these to work the actors’ timing is crucial.

Patter occurs throughout the play, most of it coming from Magrit. For instance
some of her remarks about her husband. e.g. "his breath's like strip paint wi' it"
near the beginning ofthe play.
Patter
Punchlines

These complete the comedy routine. e.g. near the beginning of the play, Magrit's
telling the others about her visit to the doctor. They're asking her about the
clot in her leg and she replies with the punchline "Aye... bloody doctor". A trawl
through the script would produce an abundance of punchlines.
Use of Timing

Good comedic timing is essential for the play to have its full effect - see section
on Use of Comic Routines.
Theatrical Business



The mock phone calls to Doreen's posh new house in Drumchapel.
Dolly putting overalls into the tub near the sink that says 'No Overalls etc. in
the stall'.
They help Mrs. Culfeathers fold up the doctor’s bedspread.
Visual Comedy



The section where Dolly is getting undressed.
Her large bloomers and ensuing farcical sequence.
Dolly teaching Magrit how to dance the Tango.
Monologue


Mrs. Culfeathers' long speech reminiscing about washing days in Glasgow Green.
Magrit's monologue about being a woman (can be spoken or sung)

These were added by Wildcat Theatre Company, a theatre company who include
music and song in their popular theatre style - with a political slant.
Songs
Stereotypes

These were a feature of the popular theatre. See Issues of Gender and
Nostalgia & History for more information.
Vernacular and Local References
 All the play is in the local Glasgow dialect, in the tradition of the Music Hall and
the popular Scottish theatre.
 It's full of local references e.g. Glasgow Green. Drumchapel and Paddy's Market.
 Magrit also refers to a well known Glasgow comedian of the time - Tommy
Morgan - his nickname ‘Clarity’ is also mentioned.
 Dolly mentions well known dance halls of the fifties – The Playhouse, The Albert
and The Barrowlands. These local references serve to heighten the comedy and
nostalgia for the audience.
Style of presentation

Short anecdotal scenes, moving quickly between acts/ideas/topics for
discussion. Songs, jokes and interaction between characters link the sketches
Use of Scottish music

Pals – celebrating the community spirit and how good we Scots are together –
Tartan army etc

Isn’t it wonderful to be a woman – moaning about men, celebrating the worth of
family

These are both very popular subjects for Scottish people to talk/sing/lament
about. They are also humorous songs, designed to entertain the audience as a
piece of light relief.
Use of Scottish ritual

Hogmanay is a ritual unique to Scotland. First footing and celebrations are
traditions that Scotland has been following since time began.

Stand up comic routines. ‘The telephone’ could be a comedy sketch in its own
right. It stands alone as a sketch.
“The Steamie”
General Information
Setting

4 stalls in a Glasgow washhouse.

December 31st, Hogmanay, 7pm.

The setting doesn’t change, we always see the women at the same 4 stalls.
Set, props, lighting, sound, costume

The set designer must create a realistic representation of a working
“steamie”. There needs to be a sink in every stall, these sinks need to be big
enough for Dolly to climb into. The fittings in the steamie must work –the women
are continually doing their washing so we need to see the progression from dirty
clothes to clean, dry washing.

There are quite a few props required. Each woman requires a pile of washing
big enough to last them the entire play, they also require something to carry the
washing in, usually a child’s pram. Most props are required to dress the set and
help to set the scene and add to the feeling that we are watching the women as
they go about their routine.

Given the detail required in the set lighting will perhaps not have to be
anything spectacular but will need to represent the bright lights of the
washhouse. More creative lighting is required for during the character’s songs
and, for example, Magrit’s monologue.

There will need to be careful consideration given to the sound effects in the
piece to help create the illusion of a working steamie with all the machinery and
movement it houses. Sound is used to set the scene but also to add to the
nostalgia and popular tradition with the use of song.

The characters, bar Andy, all have similar costumes –aprons, hair scarves
etc. It is likely that each character’s costume will give us information about their
character. The process of changing from outside clothes to clothes for the
steamie is described as Dolly gets started. This shows the distinction between
good clothes and work clothes and highlights people’s desire to look after their
belongings.
Language

Language the women use is very realistic –that of Glaswegian women in the
1950s.

Dialect is of the Western central belt of Scotland, Glasgow specifically

Scots dialect is use to set the scene and provide comedy

Formality is used to show respect “Mrs Culfeathers”, to highlight class divide
and to bring comedy to the drama (the Drumchapel phonecall scene)

Language also shows the relationships between characters, their attitudes
towards each other – “he’s an awfa nice laddie”

Colloquialisms are used for comedic effect and also to set the scene. They also
make the play uniquely Scottish –there are jokes Scots, Scots women, or Scots
women of a certain age find funny.
Comedy

The play is predominantly a comedy.

Comedy lies in the activities, chat and relationships of the women

The way the characters talk about each other, other people, their spouses,
families etc.

Affectionate insults “ya silly we bugger”

Teasing each other

Funny situations –Dolly washing in the peat bath

Strange logic –Dolly wants to wash because she feels dirty though her peat bath
was 6 months ago, Mrs Culfeather’s thinks the tatties bring out the flavour of
the mince.

Self-deprecation –characters are rude about their families but it’s clear they
love them.

Sarcasm
Target Audience

Of interest to Scots.

Especially middle aged women, mothers, housewives etc.

Those who remember the way life used to be, experience life in the steamies
and have a romantic notion of the past.
Exemplar Answer - History & Nostalgia
Remember, an “exemplar” answer is different to an “exemplary” answer. This response is
merely to give you an idea of how to go about answering a HN&PT question and to highlight
the level of analysis required to support your argument.
“Does a nostalgic representation of the past strengthen contemporary Scottish theatre?”
Answer
Intro:
In Scottish theatre, a nostalgic representation of the past is a weakness. This can be seen in
the hugely popular, successful and often performed text, “The Steamie” by Tony Roper. In
“The Steamie” nostalgic representations of the past give us a distorted, inaccurate and
frequently idealistic picture of history.
Main Part:
The nostalgia industry erupts at times of great social change. “The Steamie”, set as it is in
1953, just before the slum clearances, or 'urban regeneration', leans on this social upheaval, as
did Coronation Street in 1961. Poor housing was being knocked down in cities across Britain
at this time and the sense of displacement or alienation was very strong. What people found
comfort in - and clearly still do - is the remembering, or imagining, of the 'good old days'
when there was 'community spirit', when everybody 'pulled together' and there were no
rapists and no muggers; nobody was illiterate; there was no sex before marriage, and
everybody respected their elders.
Coronation Street, like “The Steamie”, offers its audience the chance to watch a tight knit
community at work, where people are engaged in each other's lives, just as all the other soap
operas on television do today. Coronation Street (a working class district of a fictional
Manchester) has its central focus in the Rovers Return, a comforting name in itself,
suggesting safety and comfort; Eastenders has its 'Queen Vic', suggesting the 'traditional'
values of the Victorian era which many people hark back to as a time of high moral standards
but which we know to be a time of child labour, huge social disunity, industrial filth and
widespread poverty; Brookside has its Close (Liverpool is, of course, another city where the
major old industry of shipbuilding died and where housing estates sprang up on the outskirts
of the city to accommodate the working classes moved out of the city for urban regeneration).
The play of “The Steamie” has…the steamie.
With the regeneration of central Glasgow, communities dispersed to new housing schemes
(e.g. Drumchapel) without the usual facilities and focuses - relatives, shops, friends, pubs,
cinemas (before they became bingo halls), buses, sights, sounds, etc. Coronation Street in the
1960s, and The Steamie in the 1980s and 90s, offered a look back to this community.
The question to ask of ourselves is, does this picture of a bygone era accurately reflect its
time?
The analogy with soap operas is, perhaps, a relevant one when discussing The Steamie.
Michael Billington, the theatre reviewer of The Guardian, criticised the play for its 'soft soap'
(see Alasdair Cameron's 'Introduction' to Scot-Free, p.xv, Nick Hern Books, 1990), while the
Brunton Theatre, Musselburgh, sold its 1993 production on the mouthwatering grounds that it
was 'The ultimate soap-opera!'.
On the one hand, we can criticise The Steamie for its exploitative use of nostalgia to impose a
sentimental and rose-tinted version of history, and on the other we can hold the play up as a
celebration of communal spirit and a veritable social document of working class life.
Part of the enduring appeal of soap operas is their purported reflection of 'real life', their
ability to dramatise contemporary social and moral dilemmas in the safe confines of a small
community. But just how 'real' are they?
The Steamie creates a sentimentalised version of history, one subject to half-memories,
selective memories, even a wholly imagined impression of the past. It is a fictional
reconstruction of the past which washes out the dirt and irons out the uncomfortable creases
of the past.
Nostalgia has been called 'a kind of safety valve for disappointment and frustration over the
loss of prized values' (Yearning For Yesterday: A Sociology of Nostalgia, Fred Davis, 1979).
What values have the women of The Steamie lost or about to lose?
Mrs Culfeathers has lost the attention of her sons, the happiness of her youth and is about to
lose her husband due to failing health. She is lonely and we know she will, if she lives,
probably be moved out to Drumchapel or Easterhouse, or East Kilbride or any of the
suburban schemes that were being built at that time.
This is clearly very poignant and moving but how are we to take her version of events? Was
nobody really lonely when she was a young woman? Or did she not realise this because she
was young?
Are we to think that the housing in Glasgow was bereft of rats? That living in squalor and
being poor and sick were unheard of? That women actively enjoyed the sheer drudgery of
washing clothes in their steamies, nurturing their children, running their homes, accepting
intolerable behaviour from their husbands (all of them were married, of course), even earning
a wage to supplement their husbands' wages (which all went on beer, cigarettes and
gambling)?
Clement Freud once said that: 'In a recession, nostalgia is the commodity into which to put
your assets'. It is an escape from the horrors or emptiness of the present. Is this the appeal of
“The Steamie”?
Or can nostalgia be more acceptable, can it be that nostalgia is a good thing? Museums are
full of artifacts from the past which we are encouraged to appreciate; artists hold
'retrospectives' of their work; playwrights have their work 'revived'; Mozart, Beethoven and
Tchaikovsky still sell millions of records and television shows 'classic' repeats. Is all this
'nostalgic' and a symptom of escape from the present?
Clearly, this is not necessarily the case. What makes the case of “The Steamie” fall into a
different category is its contemporary nature. It is a play written in our own time about the
past. It has the opportunity to use distance, to look at a period of time with fresh eyes and the
knowledge of events which followed. It fails to use this opportunity for anything other than a
sentimental and trivialising recreation of an important period of history.
Here are some further points to consider that if answered will improve the quality of
your answer:
What moments from the play could help justify this argument?
How much does the composition of the audience effect this argument?
In what way does the advertising of any production of The Steamie influence this argument?
How representative of contemporary Scottish theatre is this play's use of history and
nostalgia?
How might you compare its use of history and nostalgia with Men Should Weep and Tally’s
Blood