Abigail’s Party by Mike Leigh, Manor Pavilion Theatre, Sidmouth to 17 August 2024.

5✩✩✩✩✩. Review: Cormac Richards.

"A fantastic piece of theatre."

Since first appearing on stage in 1977 and subsequently on television soon after, Mike Leigh’s play ‘Abigail’s Party’ has become firmly entrenched in British theatrical heritage. An exploration of the developing strata of class and the materialistic society of the time is brought to life in an excruciating evening of awkwardness and alcohol. Beverly’s attempts to entertain neighbours in order to showcase her own tastes end in chaos and high drama amidst much hilarity.

A very definite period piece, as soon as the curtains open, the audience is met with a vision of the ‘70s; Andrew Beckett’s excellent designs are brought to meticulous life by James Prendergast and Rhys Cannon; outstanding work. And as the strains of ‘Love to Love You Baby’ ring out, the ‘70s it is.

As in so many comedies, the humour of Abigail’s Party comes from characters who are largely sad or damaged people – no one is particularly happy in the play which is dominated by hostess Beverly whose pretence at sophistication founders on the rocks of bad taste and ignorance. Her polar opposite is her husband Laurence who uses the guests at the gathering to show off his own education in a show of one-upmanship.

Stephanie Willson owns the stage as Beverly; every murmur, flirty sly look and waft of her voluminous dress are precisely placed for maximum effect. It is a gift of a role and this is a performance which combines a knowing subtlety with a loud-mouthed hammering, it is magnificent. As the highly strung, hen-pecked, long-suffering Laurence, Anton Tweedale could not be better; this is a man disappointed with life and on the verge of giving up on it and the audience is treated to a cracking version of him.

As the young new neighbours, Molly Ellis has some of the best lines as the unsubtle, meek Angela and she makes the most of every one of them - her timing is sublime; Tom Mann may not have much to say as Angela’s husband Tony, but his face tells a thousand stories throughout; this is where an actor really excels and this is just such an example. The final guest is the rather more middle-class (and another disappointed and probably the saddest character) Susan, whose daughter Abigail is having her party nearby; Heather Wilkins gives a beautifully judged performance, full of wide-eyed horror and disbelief, coupled with humiliation and pain. Excellent ensemble work.

Andrew Beckett’s unfussy direction allows the production to flow and his care for the play shines through as the comedy is delivered with such ease; yes, this is a wonderful script, but if the director and actors overwork it, then they lose it – not so here. Despite being nearly 50 years old, the play feels so very fresh and this is a production which showcases it brilliantly. For those who will have enjoyed cheese and pineapple on a cocktail stick to the strains of Demis Roussos and for those for whom those are things of ancient history, this is a fantastic piece of theatre. The ovation from the opening night audience underlines the entertainment that this production offers.

Cast

Beverly – Stephanie Willson

Laurence – Anton Tweedale

Angela – Molly Ellis

Tony – Tom Mann

Susan – Heather Wilkins

Creatives 

Writer – Mike Leigh

Director – Andrew Beckett

Design – Andrew Beckett

Lighting & Sound Operation – James Prendergast

Costume Designer – Jan Huckle

Set Builders – Rhys Cannon & James Prendergast

Props Supervisor - James Prendergast

Artistic Director - Paul Taylor-Mills

Season Associate Producer – Andrew Beckett