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 | Steaming Holden Street Theatres Until Sat 4 June  'Steaming' earned British playwright Nell Dunn a swag of awards when it was first produced in the West End in 1981. The play has been presented in Adelaide many times and was made into a movie in 1985 with Vanessa Redgrave and Sarah Miles. In July, Harrogate Theatre will stage a production in the restored Harrogate Baths - presumably located around the corner from the theatre in North Yorkshire. So instead of steaming, why was Matthew Byrne Media's production only a little muggy?In spite of the accolades, I think we should start with the script. During the reign of Queen Victoria, Turkish baths were constructed to help the proletariat keep clean, and warm in winter. Dunn provides that there still were no bathtubs in 9000 households in the vicinity of her subject council bath in London's East End; so she combines her protest against the demolition of the aged bath with a potentially heart-warming story of six female steaming regulars who discover their personal strengths during a campaign to save the baths. After what seemed like endless dialogue and monologue by Dunn's characters as they introduce themselves - comprising inane gossip, ad nauseum dissection of the past and copious complaining - the plot finally arrives in the last five minutes of the first act. In the second act the supportive atmosphere amongst the women results in their transformation and discovery of their power. However, their personal triumphs are dampened - but not diminished - by their unsuccessful campaign to save their bath and no proof that anything has really changed. Actor Dianne Corston was first cab off the rank and she set the action at a snail's pace. While the play should weigh in at just over two hours, director Matthew Byrne allowed the ladies a leisurely three hours to tell their tale. Josie is a pivotal role, but Corston was unable to bring her sensuality to the character, although Josie's lowest moments aroused sympathy. Maggie Moore, a genuine Glaswegian comic with personal experience of a save-our-bath campaign, and Maxine Grubel-Wilson did terrific work. Moore showed Violet's commitment to maintaining an emotional safehouse for her clients. The spring awakening of Grubel-Wilson's intellectually disabled young lady was a wonderful triumph. Indeed, the distinctive and clear characterisations by the six actors, and their believable interactions kept things interesting, although it was a little like watching 'Big Brother'. Scenic artist Louise Dunn painted a terrific copy of Ingre's 'Turkish Women At The Bath' on the back wall of the set - it created an historical context for the continued importance of the baths in social life. The busy employment of towels, water, and the sleeping benches certainly put us in the picture (Matthew Byrne - designer). Director Byrne often had his actors transit between naturalism and audience delivery - while it focussed our attention, it frequently took us away from the pressure cooker of the baths. MBM's production of 'Steaming' had terrific ensemble work but given the script I'm not sure boiling point could ever be reached.  | |
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