As soon as we arrived at the Theatre Royal, Brighton, last night for the opening night of Mike Leigh’s Abigail’s Party, we were in a different time zone. The music of the era introduced set the scene, but it was the opening moments that transported us. Beverly held the stage under an array of lights, Donna Summer’s ‘Love To Love You Baby’ blared, and we were treated to a moment of free-spirited dance. Oh yes, Beverly was in the room, and she was ready to party!
Abigail’s Party has become a classic. First performed in 1977 at the Hampstead Theatre, and later as a BBC Play For Today, the story focuses on a group of neighbours meeting up whilst Abigail hosts the real party down the road. Famous for its awkward moments, blatant one-upmanship, and social faux pas, the evening sees them consume far too much alcohol, lose their inhibitions, and, in the process, reveal the true nature of their relationships.
The cast was led by the iconic Beverly, played by Tamzin Outhwaite (EastEnders, New Tricks), who presented her own version of the character. Slightly more settled in life, slightly wilder and with much more abandon, this was identifiably Beverly, with all her snobbery and prejudice. She milked all the flirtatious lines directed at Tony (Omar Malik), revelled in her solo moments and led the cast well, allowing everyone to add their own flair to the piece. She was dressed for the occasion, making great use of the flowing fabric and elegant blue heels, but it was her hair that drew lots of attention – a great mane of locks that allowed her to add to the physicality she brought to the piece. As the play gathered pace, Outhwaite responded, exaggerating everything and playing with the text to make it just that little bit more excruciating.
We were particularly drawn by the performance from Pandora Colin as Sue, Abigail’s mother. The character is out of sorts with the rest of the party, aware that she is slightly older, that she’s not following the same social norms as the other guests, and, whilst she is a little shy, also firm in her persona. We loved the way the actor played this part – full of shy looks, compliance and diffidence at the same time. The scene of her dancing with Laurence (Kevin Bishop) was hilarious, and her face when she was on the phone to her daughter was perfectly selected. She conveyed so much meaning in the few lines she was given, and we couldn’t stop watching her.
The men in this piece have important, if lesser, roles to play, and both delivered solid performances. Omar Malik was both taciturn and embarrassed in his role as Tony, trying to maintain a pretence, whilst also looking very comfortable when given the chance to dance with Beverly. Laurence (Kevin Bishop) rails against his lot, clearly paying the price for his wife’s demanding lifestyle. When he tries to establish himself by referencing the art and culture he aspires to, we were with him, feeling his desperation. Lauren Patel, who played Angela, also brought a new dimension to the character, showing a charming vulnerability and again being very adept with the physical side of her part.
It is important to mention here, but not to give the game away, our favourite moment in the performance. The start of the second act provided a moment of pure joy – an additional scene that allowed Beverly to be who she really is – a disco queen, stuck in suburbia with people she is both controlling and being held back by. The production used music, lighting, and exaggerated movement to identify each character, confirming their status and letting us see them through Beverly’s eyes. It was an indulgent moment of theatre, separate from the play and perfectly placed to bring the audience back into the piece. Beverly’s hair in this moment is more ridiculous than ever. We loved it!
With the 1970s set perfectly observed, a great choice of costumes and lines that have become part of modern parlance, this was a crowd-pleasing performance that both celebrated the original whilst adding some new perspectives. The play is anchored in time – the references to fitted carpets alone keep it there – but also has a relevance to today in ways we can all appreciate. The cast have been allowed to adapt it subtly and own their characters, letting the audience see who they are whilst keeping the text at the heart of the story.
Now, if we can just get some cheese and pineapple sticks together, perhaps we can invite the neighbours in too?
Performance Dates:
Tuesday 7th July – 7.30 pm
Wednesday 8th July 2.30 & 7.30 pm
Thursday 9th July 7.30 pm
Friday 10th July 7.30 pm
Saturday 11th July 2.30 & 7.30 pm
Tickets are available from the Theatre Royal, Brighton.
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