Abigail’s Party

For the second time this year, I was delighted to be in the company of Bridgnorth Musical Theatre Company — this time for Abigail’s Party. Having previously enjoyed Made in Dagenham earlier in the year, my expectations were high. Would they be met?

The venue for this production was new to me. Once found (not helped by road closures due to an event in Broseley), I was warmly welcomed. I always appreciate an open tab-style set — it gives the audience a chance to absorb the environment and familiarise themselves with the space before the action begins. More on the set shortly.

First premiered in April 1977 at the Hampstead Theatre, Abigail’s Party was an immediate hit. Over recent months, it seems to have found renewed popularity among amateur companies — perhaps due to its nostalgic look back at a time many of us remember, highlighting just how much we’ve changed in both attitudes and expectations over the past 45+ years.

The plot is deceptively simple: Beverley Moss is hosting a drinks party for her new neighbours, Angela and Tony. Her husband Laurence (an estate agent) arrives home late, his mind clearly on work. Also invited is Sue, whose 15-year-old daughter, Abigail, is throwing a party at their house down the road. As the evening progresses, the polite small talk gives way to rising tension, fuelled by alcohol, social awkwardness, and resentment.

Each of the characters was well-portrayed and utterly believable. The transition from courteous chatter to increasingly uncomfortable exchanges was well-paced, culminating in a rather shocking final act.

Aimee Thomas was superb as Beverley, confidently dominating the evening as she put her husband in his place, flirted brazenly with Tony, and kept the drinks flowing — and flowing again.

Paul Turner gave a quality performance as Laurence, the put-upon husband, slowly unravelling under pressure and visibly becoming unwell, while the other characters remained oblivious until too late.

Lucy Watkins and Karl Spence were well-matched as Angela and Tony, the couple who proudly announced they’d paid £21,000 for their new home (if only), and who embodied many of the accepted attitudes of the era.

Finally, Jessica Miller was excellent as Sue, the recently divorced mother of Abigail. Her discomfort at being there was palpable and well handled.

And what about Abigail? We never meet her, she’s far too busy at the party down the road. We’re left to wonder what happened there,

The set worked well on many levels. The wallpaper, the bright orange rug (why did we all love orange in the 1970s?), the padded door, and the kitchen hatch were all excellent. The furniture was spot-on, and key props, including a nostalgic trim phone added authenticity. The food was equally well managed with cheese and pineapple on sticks, peanuts, and even a discussion on the choice of olives.

One minor point: when the kitchen was visible, the lack of a backdrop could have been an opportunity to add some era-appropriate tiling. A small detail in an otherwise excellent design. A quick note for future productions visible barcodes on modern drink bottles can momentarily break the 1970s illusion.

Costumes were well-chosen and true to the period. Beverley’s outfit was particularly memorable, and Laurence’s shirt, tie, sideburns and moustache were spot-on.

This was a confidently acted and well-directed production in that it was sharp, and engaging and kept the audience attention.  Were expectations met? Absolutely — and then some.

As for the future, I’m already looking forward to Sister Act in February 2026. I can’t wait to see what this talented company does next.

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