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Stars explained: * A production of no real merit
with failings in all areas. ** A production showing evidence of not
enough time or effort, or even talent, and which never breathes any real
life into the piece – or a show lumbered with a terrible script. *** A
good enjoyable show which might have some small flaws but has largely
achieved what it set out to do.**** An excellent show which shows a
great deal of work and stage craft with no noticeable or major
flaws.***** A four star show which has found that extra bit of magic
which lifts theatre to another plane. |
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Pathos and laughs in the baths Steaming
Sutton Arts Theatre
****
Steaming
was written in 1981 by Nell Dunn and was first staged at the Theatre
Royal, Stratford, in London, winning the Laurence Olivier Award for Best
New Comedy . Sutton
Arts publicity promised “ some nudity and strong language” , a device
guaranteed to sell a few extra seats on a well attended opening night. By coincidence the theatre
itself once housed Sutton Coldfield’s real baths- you can’t beat that
for a sense of place! Dunn presents six women
meeting at a Turkish Baths in the east end of London. They comprise; the
Baths attendant and de facto narrator, Violet (Sandra Haynes), a tart
with a heart, Josie (Emily Armstrong), a batty old woman (Denise
Phillips) and her dependent daughter Dawn (Elena Serafinas), a posh bird
Nancy (Debbie Loweth), and her bohemian friend Jane (Pippa Zvinis). Bill
the caretaker (Dave Douglas) is only occasionally seen and heard. When it was written,
Steaming was groundbreaking in two respects, an almost all-female
cast, and nudity, the latter pre-dating Calendar Girls. The
nudity and bare flesh here is fleeting rather than bawdy, the language
occasionally coarse, but always in context. Since it was first performed,
the world of the modern woman has been explored by Shirley Valentine
and the Vagina Monologues while girls’ night out
productions are much in vogue with numerous new productions joining the
list, so the play has a tougher task now than when it was first
performed. However Steaming does
offer insight into how women were thinking a quarter of a century ago,
embracing topics which endure - unhappy marriages, the responsibilities
of motherhood, men and, of course, sex! The single set comprises
loungers and changing area with the baths and steam room unseen
offstage, a device which works well.
John Islip and his team have
created an authentic decrepit bathhouse complete with rusting radiator!
Some cast members change with modesty and decorum, others are
considerably less inhibited with an unexpected topless scene which
brought howls of laughter from the audience. When I met director Claire
Armstrong Mills she revealed that she had taken on the show not because
of a life long love affair with the play, but because she thought she
could do something with it. That pragmatic approach is
vindicated. She eschews a nostalgia soundtrack for two whimsical Kirsty
MacColl songs which, together with non-period dress, reinforces the
production’s efforts to be contemporary. Emily Armstrong shines as
Josie – sexy, down on her luck, but with a defiant energy and optimism
to burn. Funny, strident and vulnerable, she also delivers much more
than a gorgeous figure. There is a moment in the first
half when she is describing her struggle to survive, her voice dips and
falters, and in a moment, she carries the entire audience with her. The
danger in any production of Steaming is that the part of Josie
flattens everyone else. But here Armstrong Mills
cleverly develops the mother and daughter characters into a comedy duo
to great effect. Denise Phillips is a delight as the grumpy old woman,
but the best acting of the night in realising a tricky role comes from
Elena Serafinas as the probably autistic daughter. Serefinas portrays her not so
much as a downtrodden victim but as a character with more natural joie
de vivre than any of the others, unsentimental, authentic and engaging. Debbie Loweth neatly unfolds
the repressed character of Nancy, at first the opposite of Josie, then
discovering their similarities, whilst her friendship with Jane works as
another convincing double act, Pippa Zvinis performing her underwritten
part with gusto. Sandra Haynes is the hub of
the production as the attendant, around which the dialogue and action
rotates, and happily understates her performance whilst delivering the
funniest line of the night. In response to Josie’s desire
not to be remembered for simply being a “good shag”, she replies that
some women can’t even manage that! There is very little action in
this play. Only the Council’s proposal to shut the baths down offers any
narrative progression. In the face of a fairly static setting, the cast
approach the production with brio and enthusiasm, demonstrating obvious
affection for the parts which they are playing, and enjoying doing so. An appreciative audience
basked in the glow of a cast which radiated warmth , and was tantalised
by the aroma of a real Indian takeaway ordered onstage! A well-staged
revival, come and see this show. To 29-03-14. Gary
Longden |
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