Review: ABIGAIL'S PARTY at Harold Pinter Theatre

The big question in everyone’s minds when presented with a revival of a play which boasts such an iconic central character, is will the new incumbent be able to make it their own and bring something surprising to the part, or in this case, the party?

The reason Mike Leigh’s play became such a cult classic was always Alison Steadman’s central performance as the bored and self-centred housewife who through her husband’s work ethic has never wanted for a new frock, make-up, stereo, three-piece suite or indeed a rotisserie — although she’d struggle to do more than thaw a frozen pizza and even that, she would manage to cover in cigarette ash!

On Peter McKintosh’ garishly appropriate set, we first discover Beverly through a small window at the centre of the pre-set’s brick edifice. As it rises to reveal the brightly patterned wallpaper of a suburban living room, Outhwaite is atop a coffee table, dancing seductively, smoke rising around her as she writhes in her cleavage-enhancing floaty full length dress. No one is left in any doubt from the outset, that this is her stage.

Married to fastidious estate agent husband Laurence (Kevin Bishop) he presents as a tense and henpecked sycophant for his wife to instruct as she prepares herself for the intimate party to welcome a new couple to the neighbourhood. Shrewish nurse Angela (Lauren Patel) cannot understand why former Crystal Palace footballer Tony (Omar Malik) married her, and by the end, the audience is struggling with this conundrum too. Meanwhile Beverly thinks tall, handsome, bearded Tony is terrific and so flirts outrageously with him as the free-poured gins and tonic, and Bacardi and Cokes, begin to lower inhibitions. Laurence however, remains distinctly uptight and begins to challenge Bev’s choices in music (Demis Roussos and Elvis Presley) whilst striking-up stuffy and embarrassing conversation about art and literature with divorcee Sue (Pandora Colin) the final cast member. She has accepted the invitation, having been excommunicated from her nearby family home by her 15 year old punk daughter Abigail, who is hosting her own raucous party.

At the start of the second act there is a stylised montage in which Beverly acts as puppet master and it adds immeasurably to the theatricality of the piece. Gradually the sense that this party is more a soirée for the damned takes ahold, and even excessively polite Sue succumbs to a surfeit of gin on an empty stomach mixed with peanuts and cheesy pineapple ones. As conversation and behaviour descend below the levels required to maintain suburban politesse, things begin to unravel.

Every cast member acquits themselves marvellously — no small feat given the levels of concentration required to deliver subtle reactions without overstatement in response to the gaudy goings-on. Nadia Fall has directed an hilarious revival of a much-loved classic which stays true to the original whilst breathing fresh life into one of the most monstrous central characters ever written.

Is it overplayed a tad too much for comfort? Yes. Would it benefit from being reined-in a little to emphasise the stilted awkwardness of Beverly’s overbearing and bullying behaviour? Undoubtedly. But ABIGAIL’S PARTY has become a cult classic which transcends these minor misgivings and besides, you’d forgive the marvellously winning Ms Outhwaite anything.

The play runs two hours with an interval and continues at the Harold Pinter Theatre until 19th September.

Abigail's Party Tickets