Review: The Soirée From Hell Is Still Modern Heaven In Abigail’s Party At The Curve ★★★★★

Abigail’s Party is at Curve Leicester this week. Tamzin Outhwaite is phenomenal as Beverly in the stage version of the iconic 1977 film. Here’s our review…

Mike Leigh’s razor-sharp portrait of 1970s suburban warfare remains a masterclass in social discomfort, and the current revival at Leicester’s Curve Theatre proves it hasn’t lost an ounce of its bite. Set in Essex in 1977, the premise is deceptively simple: Beverly is hosting a small gathering, the alcohol is flowing, Demis Roussos is spinning on the record player, and the cheese and pineapple cocktail sticks are primed and ready to go.

Queen of her suburban semi, Beverly and her high-strung, workaholic husband Laurence welcome new neighbours Angela and Tony round for drinks. Sue from next door is invited too, though her mind is clearly elsewhere—the real party is happening back at her own house, where her teenage daughter Abigail is throwing a raucous, loud bash. What begins as awkward small talk quickly descends into inappropriate flirtation and marital disputes. It is a soirée from hell, but for the audience, it is an unmissable joy.

This production—a revival of the Stratford East staging that received stellar reviews during a completely sold-out run in 2024—boasts a cast that is nothing short of perfect. Tamzin Outhwaite (EastEnders, New Tricks) is brilliantly cast as Beverly, the iconic, one-woman social horror show famously originated by Alison Steadman.

Stepping into such legendary shoes is a monumental task, but Outhwaite makes the character entirely her own by bringing a little more warmth to the part than Steadman did. Far from softening Beverly, this subtle layer of humanity actually makes her ultimate cruelties and toe-curlingly patronizing lines feel even worse. Outhwaite commands the stage effortlessly, keeping the audience laughing consistently throughout the evening.

The rest of the ensemble is equally brilliant. Kevin Bishop takes on the role of Laurence with spectacular comedic timing, embodying the tightly wound, stressed husband perfectly. The dynamic between Outhwaite and Bishop provides a masterclass in domestic friction, beautifully balanced by the performances of the visiting neighbours.

It’s brilliantly staged. At exactly two hours long (including an interval), the play is perfectly timed. Abigail’s Party is famously a slow-burn experience. It is a piece of theatre that demands your full concentration; it requires you to listen intently to the naturalistic script and pay close attention to the rigid mannerisms and forced facial expressions of the characters.

Every awkward silence and passive-aggressive glance builds and builds, creating an underlying sense of claustrophobia. In the second half, the pace shifts gears, and the tension heightens incredibly quickly as the alcohol takes hold and social filters completely disintegrate.

When the final curtain falls, the ending isn’t quite as explosive as modern audiences might initially expect, but this is entirely intentional. Writer Mike Leigh crafted the conclusion to linger rather than erupt.

By avoiding a neatly wrapped, dramatic explosion, Leigh ensures the audience leaves the theatre resonating with what they have just witnessed—reflecting uncomfortably, and hilariously, on their own real-life experiences with awkward neighbours, fragile friendships, and family dynamics.

Abigail’s Party runs at Curve Theatre in Leicester until this Saturday. If you appreciate top-tier British comedy acting that makes you squirm just as much as it makes you laugh, do not miss it.