I watched the first night of the new production of Mike Leigh’s “Abigail’s Party” starring Tamsin Outhwaite, who plays the unforgettable Beverly superbly, in the drinks party from hell. It proves that forty years on from its first showing in 1977 “Abigail’s Party” has just about stood the test of time. The current production at Richmond Theatre demonstrates beyond question that Mike Leigh’s iconic black comedy of suburban life is almost as powerful, insightful, excruciatingly embarrassing and poignant as it was in 1977. The set and costume designer, Peter McKintosh has put together a set which captures perfectly the interior design kitsch of 1970’s suburbia.
The opening set presents a slightly depressing suburban red brick wall, small windows, brown curtains and as the wall rises and the play starts, we see Beverley dancing on her own, whilst making the final touches as she awaits her drinks party guests. Then the superb set opens to reveal the 70’s chic living room of 13 Richmond Road. This living room is dominated by a drinks cabinet, bound volumes of Shakespeare and Dickens and records ranging from James Galway, Beethoven, Donna Summer, Elvis Presley and Demis Roussos. The opening scene is a tour de force as Beverley, the “hostess with the mostess” dances around the room to “Love to Love you Baby”, the 1970’s disco classic.
Famously Alison Steadman made the part of Beverley her own, even choosing her job as a make-up artist and indeed it made her a household name. From the moment Tamsin Outhwaite dances around her front room you know that she has created a Beverley every bit as intriguing and fascinating as Steadman’s 1977 version. As queen of her castle, she welcomes her new neighbours in – Tony and Angela and we watch her endlessly offer the essential cheese and pineapple cocktail sticks and “another drink?” whilst swishing around the room beautifully, slowly becoming more louche and outrageous. Tony, played by Omar Malik in this production is the monosyllabic ex-Crystal Palace footballer, who Beverley lusts after and dances with provocatively in plain sight of them all. Her eyes light up when Angela tells her about his footballers legs and she promptly strokes them profusely.
Tony’s wife Angela, played by Lauren Patel captures the social aspirations of those new to suburbia as they imitate their so called betters. The scene in which Beverley gives Angela tips on how to apply her lipstick has rightly become a classic. We become aware of Beverley’s sexual frustration as she flirts with “Tone” as she likes to call him. Angela is a nurse and a little annoying, whilst Tone holds a certain interest for Beverly, who makes it clear she likes strong men, not men “dead from the waist down” like her hapless husband, Lawrence, the hard working, downtrodden estate agent and lover of high culture.
The title of the play refers to a party being held at the same time as Beverley’s drinks at the home of Sue the middle class divorced wife of an Architect whose 15 years old daughter Abigail is holding a seemingly riotous party in hearing distance. Abigail’s Party is ostensibly where the danger’s emanate from in the minds of the five adult’s assembled at 13 Richmond Road, but of course the disasters are all happening at Beverly’s party not Abigail’s.
The power games and excruciatingly cringe-making goings on that result from this truly awful drinks party are brilliantly brought out in this superb production. Sue – played by Pandora Colin – is a wonderful study in the dilemma of a nice well-mannered middle class person faced by a social manipulator like Beverley. The way Beverley continually inveigles Sue to a) drink endless gin and tonics, even though she asked for sherry and b) have a little top-up every ten minutes and plies her (and everyone else) with cigarettes, is at once funny and deeply depressing. Poor Sue, despite trying to escape several times is trapped and she can’t complain because that would be bad manners.
Kevin Bishop’s portrayal of Beverley’s husband Lawrence is excellent. He manages to be both pompous, frustrated and vulnerable at the same time. In a wonderfully subtle irony he picks up on Beverley’s use of the word “Tone” to ask Sue if she has noticed any change in the ‘tone’ of the area over the years. He’s quite racist and very stressed and as the evening goes on, we see how much of a cultural snob he is and how disappointed he feels about his wife’s quite different ideas of how to have a good time.
The grotesque but poignant tragi-comedic soiree, played out between these five archetypes – Beverly, Lawrence, Angela, Tony and Sue, although dated in parts, are almost as pertinent to us now as they were 40 years ago and as the play descends into chaos, with comedy, drama and tragedy all combining, “Abigail’s Party” still holds a mirror up to us all and it’s not a pretty sight.
