Abigail's Party

My first visit to The Key Theatre studio turned out to be a delight. Abigail’s Party is one of those plays which is extremely difficult to do and is heavily dependent on having a strong cast. I never saw the original back in the 70’s so I don’t have the Alison Steadman/ Mike Leigh comparison to make, but I have seen it done several times by various drama groups over the intervening years. So in my experience it is either excruciatingly bad or brilliantly done. Thankfully PODS’ version fell very much into the later camp.
In this small intimate studio Rob Melhuish and his team had constructed a perfect example of the open plan downstairs of a 70s’ décor modern house, complete with all we now consider to be ‘bad taste,’ wall paper and furniture that was so loved by the aspiring middle classes of the time. I should say I am myself of that generation so it was with a wry smile that I can honestly say, been there, worn the T-shirt. The layout with the perfect modern kitchen disappearing off into wings was particularly impressive. And the attention to detail knew no bounds, as my partner even spotted a Mateus Rosé in the correct period bottle in the drinks cupboard. Very, very well done indeed. Only the appearance of a modern cigarette packet marked with a standard heath warning late in the play was out of place.
For those reading this who have never seen the play it is an iconic 1977 piece, by Mike Leigh set in the modern house of newly married, aspiring middle class couple Beverly, an ex-cosmetic demonstrator and very ‘Essex girl’ and her estate agent husband, Laurence, who invite their new neighbours, ex-professional footballer, now computer operator, Tony and wife Angela, a rather unintelligent and tactless nurse round for a drinks party. They also invite another neighbour, recently divorced Susan, whose 15 year old daughter, Abigail (who is never seen) is holding her first teenage party back at Susan’s house. Beverly is a domineering, very sensual character who won’t take no for an answer and soon has her guests plied with far too much alcohol than is good for them. 
Directed with excellent pace by Sandra Samwell this is, as I said a very difficult play to perform, principally because so much of the action and dialogue is delivered from a static, mostly seated position. True the central character of Beverly is continually running around topping up drinks and forcing plates of nibbles on her quests, but there are long periods where the audience is relying on cast reaction, body language and subtle movement to follow the plot and understand the jokes. Helped by what turned out to be some inspired casting, Sandra Samwell managed to pull that off with some aplomb.
Now for the actors themselves: Sadly with a much abbreviated and slightly disappointing programme lacking any cast notes, I have no way of knowing the experience of the various actors. I noted however from the Chairman’s piece that the lead actress, Amanda Villamayor (Beverly) has only just joined the group. So I do ask, where on Earth from? It is quite obvious this lady is some actress! It is the pivotal role and without an excellent ‘Alison Steadman’ as one of my friends put it, this play won’t get off first base. Villamayor did not disappoint and carried this play perfectly. Aside from her almost faultless line delivery she used her facial expressions, sexuality and body language to great comic effect, especially in her attempts to seduce Tony and with her bulldozing manner on the more demure Susan.
Alex Broadfield (Laurence) was a fine foil and contrast to his overbearing wife, particularly well demonstrated in the moments of conflict between them. An excellent portrayal of a man with trophy wife who clearly doesn’t understand him and buries himself in work whilst wondering what they actually have in common.
Nikki Marsden (Angela) has effectively the secondary role to Beverly, but I loved this part. Marsden made it her own with a unique way of line delivery and not meaning to be rude, but it had a kind of ‘Janet Street-Porter’ appeal about it, slightly dipsy but said with great confidence. It just worked so well and gave that little edge that makes a play that little bit special.
Doug Pattie (Tony). This is actually a very hard part to play, it is all reaction with a limited number of lines with which to express the character, it’s all about his expressions to do with his tactless wife’s remarks and his ‘fending’ off of Beverly’s advances, which I thought he handled just about perfectly. A neat performance, understated to great effect, sir.
Jennie Dighton (Susan) is the contracting character to the other 4, this character has to show a whole range of emotions none of which sit comfortably with her: unaccustomedly drinking too much, angst about Abigail’s party, disappointment in her own failed marriage and dealing with the overbearing Beverly, whilst keeping up her middle class front, all mainly from the one sitting position throughout the play. Very hard to do, but Jennie Dighton managed effortlessly, again with little subtleties of body language and facial expressions
All in all a very well done play. I had a slight issue with sound, it may have been me being slightly dense, but at times I couldn’t work out whether the continual music was supposed to be coming from Laurence’s and Beverly’s house or from Abigail’s party across the road. Also I didn’t feel the male hair styles were really reflective of the period. Being there myself I remember the only person in 1977 who didn’t have at least shoulder length hair was my father! But I’m being picky as wigs probably would not have worked and I suspect neither of your male actors wanted to walk the streets of Peterborough looking like Jason King!
Thank you very much PODS for an excellent evening’s entertainment and your kind hospitality. Once again my other half won the raffle, how does she keep doing that?!

© NODA CIO. All rights reserved.