Festival Theatre, Malvern – until 8th July 2023
Reviewed by Courie Amado Juneau
4.5****
Like many people, I knew Abigail’s Party from the TV adaptation starring Alison Steadman. With such an iconic performance to live up to, I had high expectations.
Ah, the 70’s – “the decade that taste forgot”. Set (and costume) designer Bek Palmer did a wonderful job recreating the era, immersing us immediately into the world (and psyches) of our hosts for the evening…
….and from word go Beverly set her stall out, boogeying whilst laying out the nibbles, glamorously decked out like the movie queen she knows she is in her orange evening dress. Rebecca Birch gave a winning performance of this cracked actress who conveys all the surface sheen and glamour of the thoroughly modern woman whilst being as frail as gold leaf on the inside. I really loved the small details In her portrayal. A different take from Steadman’s – neither better nor worse. Slightly more sexual I would say and less smarmy (but not by much). Great (two thumbs up) – truly cringeworthy.
Bev’s frustration lashes out mostly at her husband Laurence. Actor Tom Richardson’s performance was nicely nuanced – I really liked his various attitudes towards the guests invading his house. His pent up frustration, held in check with just a little escaping through the cracks, was particularly effective when it did eventually explode.
The first guests, Angela and Tony, provide the perfect canvas for Bev to play out her fantasies. Alice De-Warrenne was hilarious as Angela, wonderfully off kilter, it was a comedy tour de force, not least that voice and lack of etiquette! George Readshaw played her husband Tony with perfect pacing and barely held rage. Less was more with Tony and I loved it.
The last guest, Susan, Abigail’s mum who has been ousted from her house so that her daughter can have the eponymous party, is hard put upon by life and the overpowering Bev. The normal in the middle of the madness. Brilliantly underplayed (and I mean that as a compliment) by the wonderful Jo Castleton.
I wonder how close this production was to the original stage play. For instance, there was different music to the TV version I knew – no Demis Roussos. There was particularly brilliant use of Beethoven’s 5th opening movement, the “fate” theme, used to comi-tragic effect.
Each actor portrayed perfect range within the madness of their characters and situations as they unravel during the evening, everyone doing a stellar job of conveying the tension, drama, pathos and tragedy! I really loved Bev and Angela getting progressively more drunk and Angela’s use of props. The director’s use of the male cast when moving the sofa was masterful, (Tony with one hand, Laurence with 2) like Rams butting horns.
A wonderful play with something for everyone; nostalgia for those who remember this seminal, heady decade and fascination and wonderment for others (perhaps younger) at the ghastly fashions, music, décor and attitudes. But from whichever angle you come at it, it’s a fabulous night out being a fly on the wall of this excruciating soirée and one that I would recommend to everyone. Top marks to all concerned – terrific!