Review: ABIGAIL'S PARTY, Rose Theatre

After its excellent recent revival at Stratford East, clearly there is still public and creative appetite for Mike Leigh's savage suburban comedy, Abigail's Party, now ending another national tour at the Rose Theatre in some style.

Since the 1977 BBC TV Play for Today starring Alison Steadman burst into the British consciousness, Abigail's Party remains a scalding social commentary, exposing the class-ridden anxieties and unhappiness lurking in British suburbia. Over one excruciating drinks party, we see the agonies of social niceties dry up and divisions exposed as more alcohol is poured. Jack Bradfield, winner of the prestigious RTST Sir Peter Hall Director Award, directs the play with some refreshingly fresh perspectives, particularly through the female characters.

Overbearing monster Beverly has more hints of underlying social anxiety and meekly acquiescing newcomer Angela is assertive, with neighbour Sue having more presence. 

As a Welsh-accented Beverly, Laura Rogers is not so much the domineering monster as the anxious hostess, causing offence through social awkwardness unless shooting comtempt at her husband, a man so tightly wound that we see his demise coming immediately.

Laura Rogers brings interesting layers to Beverly, sensibly avoiding any reference to Steadman's iconic performance. Yes she is vapid, appalling to her poor husband and desperate for social validation, but also unhappy and unsure of herself. And her movement (directed by Rachel Birch-Lawson) is wonderful, sashaying and then bending around the washing machine as she attempts to flirt with neighbour Tony.

Leander Deeny is a fantastic ball of fizzing tension as husband Laurence. There is a lot of slapstick in his performance, which amuses up to a point, but then the exaggerated movements take something away from the blackness of the situation.

Chaya Gupta is bouncing and charming as Angela, constantly upbeat, as the hollow nature of her marriage becomes clear. Husband Tony is played with toe-curling brusqueness by Joe Blakemore, who gives the character more boredom than brutality.

Amy Rockson is hilariously over-polite as Susan, with a palpable sense that the whole evening is more about endurance than enjoyment.

It's a play that makes you laugh a lot; sometimes with genuine amusement, at other times with an awkward recognition of the emptiness behind the façade of bonhomie. It is a stark look at how people just want to fit in and resonates as much now as it did in 1977, when it debuted at Hampstead Theatre.

Anna Yates' set design is a star in its own right; wonderfully retro, with magnificent shag pile carpet covering the whole stage and even manages to get Laurence's Mini on stage. The plastic-covered sofa, silver-plated candelabra and fluffy toilet seat cover are all nods to where Beverly pitches herself on a social scale. Yates has also managed to source an exact replica of Beverly's 'erotic' wall art from the BBC version. It's a visually effective idea to have no walls in the house, so the washing machine, toilet and driveway all sit in one vast open space.

Jack Bradfield has brought something fresh to the classic play, while keeping all the richness and nuance within in. A deft feat; he looks to have an exciting future.

Read our guest blog from the show's costume and set Designer Anna Yates here.

Abigail's Party is at the Rose Theatre until 16 November.

Photo Credits: Pamela Raith

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