With a location reset, Abigail’s Party has shifted to writer Mike Leigh’s old stomping ground for a run at Royal Exchange, Manchester, with direction from Natalie Abrahami.

Although based in the baby boomer age, the themes more than resonate nearly fifty years later, in a time where the rush of dopamine is needed instantaneously with validation still highly sought and, at times, required for a sense of worth. Leigh’s book is the epitome of naturalism, becoming almost a parodic kitchen-sink drama which, although repetitive at times, continuously brings a laugh through the almost-perfect characters. The plot has a bubbling intensity which, although masked throughout by humour and the pleasantries of British politeness, sees inhibitions and barriers begin to peel away, showing who the characters really are- for better or for worse.

Designer Peter Butler utilises the in-the-round theatre exquisitely to offer an evening of voyeurism into the gauche and, at times, monotonous soirée. He expertly uses the revolve to provide the viewer with different perspectives into each of the troubled characters and varies the viewpoint of the kitsch surroundings in the overbearing, yet desperate-to-impress, host’s house. As with Leigh’s book, the design is nuanced with layers that appear surface level, but underneath is vulnerable – the “silver plated candelabra” versus the not-so-perfect marriage.

When creating the piece, Leigh had the original cast continuously improvise scenarios to find a sense of who they are. This is apparent from the depth and distinctions between each character. The cast each own their role and portray the stereotypical archetypes of the era.

Kym Marsh leads the production as Beverly, in a role she excels in. Marsh commands the stage and, aided by the overdramatic dance moves and a stunning gown from Butler, even in the small moments of downtime, ensures, much like Beverly, all eyes are on her. As Angela, Yasmin Taheri brings a realism which is intentionally overshadowed by the spectacle of the dramatics of the living room. Nevertheless, her performance is brooding and, as with the rest of the ensemble, is thoroughly entertaining in its own right.

Technically, lighting from Jai Morjaria transports the audience to the seventies through a variety of lamps, overhead lights and a gloriously tacky fibre light towering over the living room, which complements Butler’s design beautifully, with a standout moment in the opening when the fibres reflect off Beverly’s dress- it’s simply stunning. Unfortunately, sound design was up and down more than Beverly was to top up people’s drinks – and on that note, how the cast get through an act without a bathroom break is beyond me. There are mentions throughout of the music and excessive noise from Abigail’s party, but this was barely a whisper, dragging the audience from the narrative at times when straining to hear.

While not quite perfect, this is one party you should RSVP a yes to. A fun night at the theatre that, like with most pieces at the RX, will stay with you long after leaving, with lingering questions about each of its many layers.

Abigail’s Party runs until Saturday 24th May at Royal Exchange. Further information and booking can be found here.

Tickets received in exchange for an honest review.

Photography by Johan Persson.