Review: Abigail's Party. Lace Market Theatre. Nottingham.

Playing at The Lace Market Theatre until 27th July, Abigail’s Party is the last play in this high standard amateur theatre’s Spring/Summer season. It’s a cracking production and understandably sold out this week. Check with their box office to see if there are any returns. You won’t regret it.

Mike Leigh’s comedy drama has great appeal for the dark-comedy voyeur in us that, thank our lucky stars, we have not been put in the position of being invited, in the real world, to this little cheese and pineapple (and olives for those who like olives) drinks soiree around at Beverly and Laurence Moss’s on Richmond Road. Within its playing time of just over two hours including interval the notion of just a few drinks to meet the neighbours turns into a party from hell. If seeing others suffer socially in a play is your bag then this play is perfect for you. And it is darned funny to boot. It’s the 1970s and Mike Leigh’s superbly drawn characters are as colourful as Beverly’s bad taste in cushions, wallpaper and Demis Roussos records.

Last performed at The Lace Market in 2009 this July 2024 production boasts a fantastically detailed set by David Babington and is superbly directed by Jonathan Cleaver. Cleaver’s cast are exceptional and wring every tiny comedic and dramatic nuance out of their character’s behaviours, foibles and lines. Playing comedy as a straight drama is the way to do it and this sterling production does it in spades. I don’t say this very often but watching this show tonight genuinely feels like watching a professional theatre production.

Danielle Easter gives us her superbly confident version of Beverly the snobbish hostess with the ghost of a common guttersnipe lurking beneath the swishing red glamour, long cigarettes and constant Gin and Tonics on the go. Her lusty interactions around the settee with Tony (Paul Spruce) are incredibly well actualised and cringingly very funny. Spruce nails the virtually mono-syllabic and socially uncomfortable character of Tony to perfection. His embittered short replies to questions about his married life with Angela are perfectly timed and speak volumes about how he really feels underneath the forced politeness. This audience seem to love his portrayal.

Luke Willis is perfectly cast as the over-worked and put upon husband Laurence Moss. His nasal verbalisations and physical explosions in the second act cause some audience members to gasp as if the strongly hinted at ‘violence’ acted out is real. That’s when theatre works – when audience members are so committed to the pretend lives on stage they forget they are sat in the theatre. And for that to happen the acting has to be truthful and top notch. And it is.

Kareena Sims gives her role as the ditzy nurse Angela real depth with her eager-to-please, bent-over, splay-legged – happy-to-knock-back-the- free- booze, head nodding acquiescent personality. Sims is a highly accomplished actress and it is a delight to see her back on the Lace Market stage and in Abigail’s Party she is a total hoot as Angela.

For those who know the play – even from the first classic version on the telly – you will know that the last guest to arrive clutching an expensive red wine gift at chez Moss is Susan (Charlie Osborne). Susan’s teenage daughter Abigail is having her own rather wild party down the road and as time goes on we hear it is getting more and more out of control. Osborne completely convinces as the intelligent divorcee trying to mix with the other guests and hosts and her discomfort is clear as she is too polite to stop Beverly foisting drinks on her throughout the first act. Even from Osborne’s first brilliant look of social faux pas betrayal as the red wine is put in the fridge and, her growing regret at accepting Beverly’s party invite, we at least know we are in for a hilariously good time at Mike Leigh’s characters’ expense. "Now who likes olives? I like olives… Beverly?"

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"Abigail's Party" by Mike Leigh
Nottingham Lace Market Theatre

I must pre warn you, dear reader, you may need to get yourself a beverage and a biscuit now as I think I may be about to gush on a giant scale.

This Mike Leigh slice of suburban seventies soiree is one of my favourite plays from this era; a play that has stood the test of time with theatre goers and lovers of classic comedy theatre.

Beverley is throwing a small but select "do" consisting of their new neighbours, Angela and Tony and Susan, mother of Abigail, who is having a teenage party a few doors down. Laurence, Bev's husband, is racing around catching up with his work as well as racing around after Bev.

As the evening continues we hear snatches of the back stories of all the characters and slowly, secrets are revealed about all five of them, giving us a more rounded image, as well as a darker side to them all.

Tony and Laurence are sent off to make sure that all is well at Abigail's party, Tony returning a while after Laurence confirming that all is OK to Susan, who takes ill after Bev continually topping up her drinks. All on an empty stomach as well!

The evening ends in a very dark way for one of the five!

Laurence is played wonderfully by Luke Willis who really encompasses the hard working husband, slightly under the thumb with a bit of a rebellious streak. Visually you'll smile as soon as he appears on stage, thanks to the most wonderful hairy amendments. You could almost see the veins in Laurence's neck bulging due to the anxiety and stress levels raised by Beverley and her demands. All this on top of his stressful demands of his Estate Agent job. The jealousy, caused by Beverley, is also brought to the surface well as you almost expect the two "stags" to lock horns at any moment.

Danielle Easter plays Beverley and  is wonderfully flirty as the hostess with the mostest. It's been a while since Danielle has performed locally, but this season closing sensation shows what an incredible actor Danielle is. It also shows what a cracking character actor she is, as she brings the glamorous, man-eating Beverley to glorious life. The nasal twang grinds on the ear, but it is supposed to, and you read every endeavour to send Laurence's mercury levels racing to the peak of his virtual thermometer, and she enjoys that power. Beverley is one character that, visually, is not a million miles away from Danielle, as both actor and character are gorgeous.

Kareena Sims is the man-spreading Angela, a wonderful character to play and her voice is delightfully infuriating while also keeping that comic edge. This character is the complete opposite to Danielle's because, and I'll admit that I really had to look two and three times, but the gorgeous Kareena has had to glam down with the make up, glasses, costume and wig. Angela sometimes lets her tongue run away with her while trying to keep up with Bev's life tales, much to the annoyance of hunky hubby, Tony.

Tony is played by Paul Spruce and depicts the typical 70's heart throb. Long hair, beard, tache, hairy chest, smart, trendy clothes and at times mysteriously silent. He also used to be a pro footballer - for a short time. It makes you wonder why he has married Angela as the pair seem to have absolutely nothing in common. You can tell he has an eye for the ladies as he is seduced by Beverley, right under everyone's nose. Paul's comic timing is spot on, and most of the time, Tony has just one word responses, but it's the way that these words are delivered and timed that cause the audiences reaction. This is also another character who has transformed the actor beyond recognition thanks to a brilliant wig and costume.

Charlie Osborne plays Susan, another wonderful character driven part, as are all the characters in this play. Susan is well bred, divorced and nervous about leaving Abigail and the party, especially with all the horror stories the others drip feed her about their past party experiences. It's been a few years since Charlie has been on this stage, so it's great to have her back in such a brilliant role. I have no idea how she manages to keep such an outwardly serious disposition, as I am sure that inwardly, there are guffaws waiting to emerge. It's that seriousness in such situations that also create yet another layer of comedy.

This cast could not have been selected more perfectly, not only for their acting ability, but for their comedy acting talents. Comedy is the hardest acting vein to perform in, but these fabulous five make it look so very easy and natural.

Mike Leigh's script is rammed with comedy lines. The comedy is definitely non politically correct at times, and I am so pleased that these lines, like calling Demis Roussos a "fat Greek", have remained. the 1970's was an era where you weren't afraid to laugh at really funny comedy and be looked down on for doing so.

That is why TV sit coms of the day like "Love Thy Neighbour" and "It Ain't Half Hot Mum" were bringing in TV audiences in their millions, due to the un-PC scenes. Scenes and shows that would never be repeated on today's screens due to them upsetting somebody without a sense of humour. Thank goodness we still have plays like "Abigail's Party", which could never be updated or have the script amended for snowflake audiences.

Directed by Jonathan Cleaver, assisted by Jamie Goodliffe. I have no words to shower on this pair because everything about this production is, for me, just perfect. I mentally recalled segments of the script, like a favourite record that I'd played on repeat as we went through the play.

The pace and the comedy timing, which also accentuated the awkwardness between some of the characters, especially in the scene where Beverley initiates the dancing, just to get close to Tony, as well as the accents.

Listen carefully, and you'll see that every character has a different accent, making all five as individual as you can get. Also watch out near the end of the play as there's a very subtle, or not if you didn't notice, change in the light shades on stage.

Colour also plays a very strong part in the strength of the individual characters, so take a look at the costume hues as this is also another very clever, hidden in plain sight touch by the Director(s).

A brilliant set design, by David Babington, which depicts the typical 1970's middle class home, complete with lava lamp, fibre optic light, and other seventies style lighting, bar, furniture, wall coverings and vinyl. James Galway, Donna Summer, Tom Jones and of course Demis Roussos. The props take me back to when I was a kid with some of them like the lighting, but everything has been thought of. From the Cosmopolitan magazine and magazine rack to the cigarette lighter to the telephone, record rack, radio and record player.

The set itself looks to be an expanded one to the ones that I can remember from other productions. Apart from the living room, we can see a gorgeous green kitchen and also the front door of the house, which the cast enter and exit by.

As only to be expected the clothes are wonderful collated by the wardrobe wizard, Max Bromley, as are the wonderful wigs, thanks to Linda Croston. That is what makes this play fascinating to watch, the attention to detail. Like the retro cheese and pineapples on sticks (I still love these), peanuts, crisps and olives (love the reason why Beverley can't stand olives, so listen out for that line).

The Lighting Designer is David Billen and sound design by Matthew Allcock. As with the casting and the show itself, perfect! I don't think I've ever had to say anything negative about the sound and light design and operation at the Lace Market.

This production is a great way to close the season. But that is one thing about the Lace Market Theatre; the season's productions are so well chosen for variety that it starts on a high and continues in that way, which is the reason why so many of their shows are continually sold out, like this one.

I can also honestly state that I have not heard the walls of the Lace Market Theatre auditorium rattle to the sound of raucous laughter as much as they did with this production. There were not just waves of laughter, there was an absolute tsunami of belly laughter.

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