Abigail's Party, Royal Exchange Manchester, Review

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Fri 04 Apr 2025 - Sat 24 May 2025

You can probably judge if someone has previously seen Mike Leigh’s Abigail's Party by whether they have a knowing laugh if you mention Demis Roussos. But could a play so rooted in the 1970s still engage an audience in 2025?

In the Royal Exchange's new production, at its theatre-in-the-round, Kym Marsh was the challenging hostess, Beverley. Her performance was brassier than Alison Steadman's in the legendary 1977 TV production, which was reportedly seen by an audience of 16 million.



This is partly due to the theatrical setting but also perhaps a reflection of Kym Marsh's TV, pop (noughties band Hear'Say) and soap star background. That didn’t mean that her performance lacked nuance. Her comic timing was lethal, especially her drawn-out Yeahs clearly meaning No, to her well meaning neighbour, Angela.



Though Beverley never misses an opportunity for one-up-womanship, it was not a one-woman show. Director, Natalie Abrahami, had the whole cast playing off each other like a jazz band.

Graeme Hawley embodied the never-resting Laurence, in his suffocating, grey estate agent's suit. His short speech about people always being against him, in his uphill battle, was a rare poetic and affecting interlude in the production.

As the taciturn Tony, Kyle Rowe gave a marvelously hilarious but menacingly controlled performance. It must have taken superhuman self-discipline not to laugh as Kym Marsh wove Beverley's lumbering erotic dances around him

His inability to make small talk was a perfect counter-beat to the verbosity of Angela, Beverley and Laurence. But just a slightly raised voice or look of disapproval, especially when Angela took another party snack, was enough to hint at Coercive Control, years before it was made a recognised crime.

Both Tony and Beverley are controlling, they just differ in how many words they use to achieve it.



Although the 1970s references and design may be dated, the enduring appeal of the drama lies in the way the dynamics between the characters seem to be inevitably building to a bust-up or breakdown. Throughout the evening, the tensions smouldered towards an eruption, like the smoke from the cigarettes which Beverley dished out as frequently as her wifely put downs.

Each character has a survival strategy and either an eye on an escape route and/or are reaching out to another guest to rescue them from a lonely trap. This small gathering is obviously one Beverley has spent a lot of time preparing for, especially as it is her fleeting chance to be a star, in a small world.

To misquote Jean-Paul Sartre: Hell is other people . . at a dysfunctional drinks party.

Like most English dramas, the tensions of social class are a constant theme. How should this new middle class define themselves? In Beverley's chintzy form of hedonism or Laurence's yearning to set himself apart via high culture.

Arguably, the ultimate tragedy at the play's denouement was lessened by the previous comic energy, but it was still an immensely engrossing night at the Royal Exchange. I can't say whether all the audience enjoyed it, but there was constant laughter and sympathetic groans from myself and others through the show. It was definitely a party you felt relieved to be closely overlooking from the stalls or gallery rather than trapped in the three-piece suite at 13 Richmond Road.



Abigail's Party is at the Royal Exchange until 24 May 2025. Standard Tickets from £10.

Approx 2hr 10mins, including a 20 minute interval

For more information click here.

Royal Exchange Theatre, St Ann's Square, Manchester M2 7DH
0161 833 9833

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