As the motion begins within the newest manufacturing of Mike Leigh’s Abigail’s Party, you’ll be able to’t assist however really feel a prickling sense of anticipation. This marvel of 1970’s British social dysfunction has as soon as once more graced the stage, proving that the get together by no means actually ends, it merely finds a brand new host.
Beverly herself is a drive of nature, seemingly oblivious to the cringe-worthy destruction she leaves in her wake. She’s performed by Rebecca Birch in a efficiency that completely encapsulates Beverly’s power, conceitedness, and hidden insecurities. She is equal components charming and manipulative, and her interactions with the opposite characters are each hilarious and painful. But Birch additionally brings an actual vulnerability to the position, which makes Beverly all of the extra human and relatable. That’s a tough factor to do.Of course, a gathering isn’t a gathering if there’s just one individual there, and the remainder of the forged is a superb mismatch of strange puzzle items that look as if they may match collectively at first look, however in the end merely can’t; not with out a great deal of effort, not less than. We have the burdened Sue, performed by Jo Castleton who’s all about maintaining appearances whereas she worries incessantly about what Abigail may be as much as at dwelling. Tony (George Readshaw), the moody former footballer, who broods with a simmering depth that might explode at any second – and does. And Angela (Alice De-Warrenne), the enjoyable and nearly manic nurse who tries to make up for her husband, Tony’s, dourness however solely succeeds in making it all of the extra noticeable.
Director Michael Cabot orchestrates all the chaotic ensemble with precision, guaranteeing that every excruciatingly awkward second lands with most influence, and it really works; the strain within the room is so thick at occasions you can slice it with a cheese knife and serve it on a cocktail stick.One of the issues that struck me most about Abigail’s Party was how timeless it feels. Despite being written within the Nineteen Seventies and clearly set in the identical period, the play’s themes – social nervousness, class tensions, and relationships (good and unhealthy) – are simply as related as we speak as they had been again then. Watching the characters navigate their approach by means of the complexities of their social lives, it’s laborious to not see similarities with as we speak’s world. We can all relate to at least one (and possibly extra) of the characters earlier than us. We simply may not likely need to.
Review by Lisamarie Lamb
Rating: ★★★★
Seat: J33 | Price of Ticket: £32