By Abigail Uden There are many pleasures to be taken from this Hampstead Theatre production of Abigails party. There is Liz McInnernys magisterial performance as the monstrous Beverly, for a start, which almost edges out Alison Steadmans famous reading of the role.  | | 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 Tonys inability (Steffan Rhodri) to sit down after a rather exciting dance, or Angelas (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 Youre 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 dont 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 shouldnt learn to drive because husband Tony doesnt think Id 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 dont 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. Sues worry about what is going on at Abigails party, for example, there for becomes by extension every parents worry about their offsprings future. Beverlys boredom in her marriage, is clearly drawn as is Laurences 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. | 
