Abigail's Party

The audience arrived to an open stage, its hugely-patterned brown and orange walls and Spanish-style archway (with sparkling multi-coloured string curtain) taking us immediately to the 1970s.  The set was lit and dressed perfectly for the period: the softly subdued lighting enhancing the glow of the lava lamp on the classic lounge shelving unit, with its spider plants and knick-knacks; a wonderfully curvaceous coffee table adorned with snacks in tiny wooden bowls; a mesmerising frond light, thoughtfully placed out of the immediate eye-line, and comfortable leather furniture.  We were in a vulgarly chic and well-planned 70’s home, where the modern did battle with the classic paintings hanging on the wall.  Costume added further to the 1970s theme, each character bringing a fresh reminder of 70’s hair and fashion.

The audience were laughing almost as soon as the play opened, as Beverly (Laura), resplendent in her orange maxi dress, preened herself in anticipation of the night’s events.  Never faltering in her perceived role of Queen Bee, this Beverly simpered and smirked her way into the arms of new neighbour, Tony, at every available opportunity, her superficial friendliness deceiving no-one for long.  Tony (platyed by Jay) is one of the most mono-syllabic characters in English drama, yet this Tony made the most of every utterance, loading it with meaning physically, facially and vocally.  Tony’s wife, Angie, (payed by Sadie) appeared at the party full of bubbly enthusiasm and optimism, until, poisoned by Beverly’s cynicism and visibly shaken, she saw Tony succumb to Beverly’s charms.  Divorced neighbour Susan (played by Sara) made each moment count, so that, despite having relatively few lines, the audience empathised completely with her sense of frustration and discomfort: like Tony, she was ever-present, even when silent.  Beverly’s long-suffering husband, Lawrence, (played by Barnaby) was unfailingly upbeat in company, coped well with her constant jibes and egocentric attitude, and whilst clearly affected, was resolutely attempting to rise above the insults and instigate authentic conversation whilst maintaining a cheerful exterior for their guests. 

Directed with a light touch, (Simon Raynes with Matt Broad) this production was entertaining, humorous and poignant by turns; we recognised the horribly egocentric Beverly and felt for the people around her as they were diminished, dismissed or seduced by her sugar-coated tyranny.  Accents, clarity and projection were sustained throughout.  The social dynamic of the situation was clearly understood and conveyed to the audience, so that we pitied Susan in the cloying atmosphere of fake sympathy and judgemental attitudes; we pitied Lawrence’s frustration at the shallow life he shares with Beverly; we laughed at the brilliantly-timed resuscitation episode; we cringed at Beverly’s clinging to Tony as Lawrence lay dead upon the carpet and were outraged at Beverly’s undermining of Angie’s marriage.

Many congratulations on this well-balanced, thought-provoking and thoroughly entertaining production. 

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