Abigail’s Party

 

 

Pendle Hippodrome Theatre Company’s production of Mike Leigh’s play ‘Abigail’s Party’ delivered a sharply drawn snapshot of 1970s suburbia, uncomfortable, comical, and completely absorbing. The play follows a disastrous evening of forced socialising in a suburban living room, as Beverly and Laurence host new neighbours Angela and Tony, along with Susan, the quiet and reluctant mother of the offstage Abigail, whose chaotic teenage party next door is the excuse for the adults’ awkward gathering.

Directed by Fiona Thompson, the production moved at a measured pace, the balance between comedy and discomfort smooth. A thoughtful staging choice placed the imaginary window to Susan’s house at front stage left, helping set up the space’s orientation. The cast made confident, economical use of the set throughout, bringing a natural energy to the tightly choreographed movement that reflected a well-rehearsed cast. The set was solid, impressively detailed, with no movement or wobble as the cast navigated the space. A door stage left led “upstairs,” while an archway at the back suggested the kitchen, hallway, and space beyond. A large drinks cabinet stood to stage right, and a well-used settee, armchair and coffee table took centre stage. A choice of nibbles with a cheese and pineapple hedgehog dressed the coffee table, the attention to detail was excellent. The props team, Julie Scott, Jackie Edington, and Olivia Riley, did an excellent job evoking the period with accuracy. Lighting design by Stevan Manley and Karl Pilkington was unfussy and effective, guiding shifts in mood without drawing attention to itself. Sound, managed by Alice Birt, was crisp and well-balanced throughout, with no feedback and thoughtful use of ambient music from Abigail’s party, Susan’s daughter, though never seen, which subtly expanded the world beyond the living room.

Elizabeth Rowell’s Beverly brought a mix of social confidence and underlying tension to the centre of the action. Dressed in a flowing 70s caftan with styled hair by Carol Cook’s wardrobe team and wigs by Sophie Greenwood, she played the host with brittle cheerfulness, needling her husband and guests in equal measure. Her insistence on offering drinks and cigarettes, particularly to a visibly uncomfortable Susan, was as funny as it was wince-inducing.

As Laurence, Sam Crabtree gave a watchful, irritable performance, his frustration bubbling to the surface in sharp bursts. When moving the settee, his strained expression and occasional chest clutching spoke volumes about his mounting stress, especially in the presence of Tony. The moment he collapsed to the floor, with Bohemian Rhapsody faintly playing from Abigail’s party next door, was both heartbreaking and comical.

Blake Morris, as Tony, said little but made a definite impression. His interactions with Beverly were laced with suggestion, and his late return from Abigail’s party, shirt soaked, expression unreadable added to the tension. His presence unnerved Laurence in particular, and the dynamic between them added weight to the quieter moments.

Amy Riley played Angela with bright-eyed eagerness and well-judged comic timing. Her drawn-out “yeah” s and habit of talking over her husband Tony were consistently amusing, and her off-key rendition of California Dreamin’ earned genuine laughs. Her earnest nursing instincts, especially when trying to help Susan and at once relaying her vomiting to the group, were oddly endearing in their lack of tact.

Vicki Goldsworthy’s Susan provided a calm, composed counterbalance to the chaos. Dressed conservatively and with a more refined accent, she was clearly out of place from the outset. Her discomfort deepened as the evening progressed, culminating in her sudden illness and quiet desperation to leave. Vicki handled the role with restraint, making her character’s emotional arc more affecting.

The production was expertly supported by Stage Manager Paul Thompson and Assistant Stage Manager Penelope Hatfield, whose backstage coordination ensured smooth transitions and a polished finish.

What stood out most was the production’s ability to keep a consistent tone. The humour was never overplayed. It was a well-crafted and thoughtfully assembled production that captured the brittle charm and creeping tension of 70’s suburbia. An excellent production from start to finish. I would like to thank Pendle Hippodrome Theatre Company for their generous hospitality and look forward to many more productions in the future.

 

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