The sound of ABBA’s Money, Money, Money emanates from a brick-walled back drop, a window with garish patterned curtains invites us to peer into the world of an upwardly mobile couple: the passive aggressive Beverly and her overworked and uptight husband Lawrence.
As the brick wall ascends, the theatre is filled with shards of light from a suspended glitter ball, and the intoxicating rhythms of Donna Summer’s I Feel Love. The formidable Beverly, dances on her coffee table, like Farah Fawcett draped in an orange kaftan, on a smoked filled Studio 54 dance floor. Yes, we are in the 1970’s! Where one upmanship, consumerism and the suburban dream reigns supreme.
Beverly is hosting a soiree for her new neighbours; the impressionable Angela and her monosyllabic husband Tony. Also invited to the gathering is the long suffering and socially awkward Susan. The constant clinks of Bacardi and coke filled glasses, the endless passing of cheese and pineapple on sticks and the distinct vocals of Demis Roussos support the comedic atmosphere. Beverly’s soiree is like a tennis match where she serves, volleys and fights for every point.
The points accumulated are currency for her relentless social climbing. Mismatched personalities, confined in a room together, trying to make polite conversation, but the awkward silences are deafening. What is not spoken is extremely palpable and effective i.e. in the portrayal of Tony’s familial history and Susan’s marital storyline.
Mike Leigh’s writing unearths the longing for social acceptance and relevance. As his character’s steadily become more intoxicated, their loose lips let slip their desires, aspirations and regrets. Leigh tackles entrenched classism, sexual politics, the hardship of marriage, the bleakness of divorce, and the life choices we make. What is glorious about Leigh’s writing is the pathos he evokes; there is an underlying darkness in each of his well-formed characters which needs release.
The second act builds in intensity, the pressure builds, an emergency ensues, leading to the protagonists losing their socially acceptable masks and venting their true emotions.
The performances of Tamsin Outhwaite (Beverly), Kevin Bishop (Lawrence), Ashna Rabheru (Angela), Omar Malik (Tony) and Pandora Colin (Susan) should be applauded. Their chemistry is undeniable, their timing and pace impeccable and their nonverbal communication beautifully authentic.
Kudos to outgoing Stratford East artistic director Nadia Fall for her detailed direction and high praise for set and costume designer Peter Mckintosh.
Abigail’s Party is a social commentary on 1970’s living, but still has relevance today, as we aspire to higher social status, greedily consume the latest trends and still fight for inclusion.
Need to know: Abigail’s Party plays at Stratford East until 12 Oct 2024
