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By
Abigail Uden
There
are many pleasures to be taken from this Hampstead Theatre production
of AbigailÂ’s party. There is Liz McInnernyÂ’s magisterial
performance as the monstrous Beverly, for a start, which almost
edges out Alison SteadmanÂ’s famous reading of the role.
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| Laurence
Angela dancing - Huw Higginson Elizabeth Hopley |
Then
there are bold comic moments when the rest of the actors are given
a chance to come to the fore, whether it be TonyÂ’s inability
(Steffan Rhodri) to sit down after a rather “exciting”
dance, or AngelaÂ’s (played by Elizabeth Hopley) slow drunken
concentration when it comes to lighting a cigarette, or the acute
observations in the writing, which means that even very familiar
lines like “You’re dead from the waist down” still
have power and force on the night.
There
is the recognition factor too in having such a lovingly recreated
period set. I donÂ’t think I have been to a production where
there has been so much discussion about what you see on stage before
the action begins. But judging from the pointing and nudging going
on, clearly a large part of the audience had once owned a sheepskin
rug, a set of orange cushions, brown patterned curtains or an avocado
kitchen.
But
almost thirty years after it was first performed, what stands out
now is how times have changed from the materialistic social climbing,
male dominated world Mike Leigh captured when he first wrote this.
How
many women today, for example would accept, as Angela does that
she shouldn’t learn to drive because husband Tony “doesn’t
think I’d be any good at it”. This means the male actors
in the cast, have a tough job overcoming the prejudice caused by
them shouting at their wives - attitudes which actually prompted
someone to tut in disgust at one point in the play.
Consequently
they donÂ’t come across as effectively as the women, despite
the piece having a strong ensemble feel, which also highlights the
bitter sweet elements in the writing.
SueÂ’s
worry about what is going on at AbigailÂ’s party, for example,
there for becomes by extension every parentÂ’s worry about their
offspringÂ’s future. BeverlyÂ’s boredom in her marriage,
is clearly drawn as is Laurence’s “little man estate agent”
struggling to find meaning in Art and classical music.
And
such is the emotional depth given to all the characters that when
the evening of neighbourly chat and nibbles ends in disaster, you
leave the theatre slightly haunted about what is going to happen
to them next.
I noticed
during the interval that Mike Leigh himself was there for First
Night. I hope he was pleased by what he saw. Everyone else seemed
to be.
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