It was only after I read the programme for this production of Abigail's Party that I knew that it had began as a play. Like most, I knew Abigail's Party from the wonderful television play from 1977, starring Alison Steadman. Even when watching a repeat on television a couple of years ago, Mike Leigh's damning social commentary still packs a punch. While teenager Abigail has a riotous party across the road, Beverly (Hannah Waterman) attempts to throw a more modest affair with just as much fun. While much smaller - there is only her and her husband Laurence, new couple Angela and Tony, and Abigail's mother Susan - her party spins out of control just as quickly as the fifteen year old's.
A comic drama rather than a full on comedy, there is still much fun to be had at seeing social manners so quickly disintegrate, as the suburban sheen gradually fades away. Even the set seems to be be simultaneously attractive and repulsive. It may stick close to the 1970s setting but this production proves how even today Leigh's criticism of 'keeping up appearances' is still effective, aided by a talented cast, led by Waterman, who avoids rehashing Steadman's performance and plays Beverly as a more desperate and pitiful character. While her quips are funny, they also hint at her despair at the humdrum life she lives. As such, her seducing of Tony is bitterly comic as we see her desperation for fun and freedom.
In fact, this production seems much bleaker than the television play, to the credit of the cast who avoid playing it too broadly or trying to get easy laughs. Most of the laughs here are uncomfortable ones. Particularly since the television play is so well-regarded, it would be easy for the cast to just fall into character types and caricatures. However, the cast work extraordinarily well at convincing you that these people have a life outside the events of the play. Awkward silences are hilariously recognisable as are the arguments that occur about class and art. Martin Marquez as Laurence is brilliantly stuck up, and appears even more so when he occasionally locks head with Samuel James' Tony, a down-to-earth man who is brilliantly deadpan and aggressive when required. His wife (Katie Lightfoot) gets the balance perfect between irritating and endearing, and Emily Raymond as Susan gives a suitably sympathetic put-upon performance.
The one criticism I have is that there was an interval, which seemed to rudely interrupt the play. It would've been much better to have the ordeal of the party occur uninterrupted, especially as the play really benefits being done as a live performance. From the stalls, you get a fairly similar perspective to the characters on stage allowing the awkwardness and hilarity of the party to be experienced head-on. While for some the television play can't be matched, actually experiencing the events live and have them occur physically in front of you really gives an edge to the play especially as it moves towards tragedy in its final movements.
Mike Leigh has this incredible quality in his work to be able to present human interactions in an authentic and entertaining manner. His process may remain elusive to outsiders, but as long as it continues to produce quality material I'm happy to let the magician keep the secrets under his hat. Well worth seeing live if you can, but if not possible, at least track down the television play. While more muted, it stands up as a remarkable piece of drama.
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