Abigail’s Party

A sparkling showcase of comic talent

The play takes place as Beverly and Laurence invite their new neighbours, Angela and Tony, round for drinks. Also joining them is Sue, whose teenage daughter, Abigail, is holding a party of her own nearby. While the play touches upon several issues, it never delves too deeply into them, revealing just enough to let us know they are there. Instead, the main focus is on the increasingly uncomfortable interactions between the characters.

Much of the advertising has understandably focused on Tamzin Outhwaite as Beverly. She plays the role with complete ease, from Beverly’s dancing and constant offers of drinks to the sharp undertone hidden beneath her seemingly casual comments. Even the simple act of showing off a piece of artwork becomes an opportunity for Beverly to assert herself. Outhwaite captures both the humour and the unpleasantness of the character without making her feel like a caricature.

However, while Outhwaite may be the most recognisable name in the production, this is very much an ensemble piece. The play might stand on its own, but this cast brings it perfectly to life. Each performer plays a vastly different character and fully embodies their role.

Omar Malik plays Tony, a man who does not say very much and is frequently cut off whenever he does attempt to join the conversation. Malik’s height also works well for the character, particularly in relation to the dialogue about Tony and the way the others perceive him. Although he remains quiet for much of the evening, his presence is always felt. In many ways, he becomes the most relatable and grounded person in the room.

My favourite performance came from Lauren Patel as Angela. The character is a somewhat ditsy nurse who appears to relish any opportunity to break free and enjoy herself. Patel finds so much humour in the role, particularly through Angela’s lack of awareness and her attempts to keep the conversation going. Her enthusiasm provides many of the production’s funniest moments, but there is also something rather endearing about her.

Pandora Colin plays Sue, a more reserved and slightly uppity divorcee who is understandably worried about her somewhat out-of-control daughter. She would clearly rather be elsewhere, but Beverly repeatedly pressures her to drink and enjoy the party she is attending. Colin conveys Sue’s discomfort brilliantly, often through small reactions and expressions as the evening becomes increasingly unbearable.

Kevin Bishop plays Laurence, who I imagine was originally intended to be the production’s more down-to-earth character. However, viewed in today’s climate, he comes across more as someone trapped in an unhappy marriage and unable to hide his resentment. The tension between Laurence and Beverly is apparent from the beginning, with their exchanges becoming steadily more pointed. As a result, Tony now feels like the most normal and relatable character, quietly observing the chaos around him.

The acting really sells this production, and the performances alone make it worth seeing. The cast understand that much of the comedy comes not simply from the dialogue but from pauses, expressions and the things the characters are trying not to say. The humour often sits alongside a genuine sense of discomfort, making the audience laugh while also recognising how unpleasant the gathering has become.

Peter McKintosh’s set and costume design is very true to the 1970s, with the furnishings, costumes and carefully chosen details bringing the era vividly to life. A bookshelf divides the stage space, helping the room feel more realistic and lived-in. Although this part of the set is only used prominently at one point, that moment works extremely well, with the performers using the gaps in the shelves almost like windows through which they can talk to one another.

Howard Harrison’s lighting includes a strip of light framing the set. I was unsure whether this was intended to acknowledge the fact that Abigail’s Party became so closely associated with television. It is not distracting, although it does not add a great deal either, instead reinforcing the impression of a stage set contained within another stage. It may simply be a practical choice for a touring production, allowing the set to fit into venues of different sizes without needing to be significantly expanded or reduced.

Ultimately, Nadia Fall’s production succeeds because of its cast. Every awkward silence, passive-aggressive remark and forced moment of enjoyment is convincingly delivered. Tamzin Outhwaite may take centre stage as Beverly, but the strength of the ensemble ensures that this remains a sharply observed and very funny portrayal of a social gathering gradually spiralling out of control.

*****

Photo Credit Mark Senior