Abigail's Party/ The Caxton Theatre, Grimsby. 25 April 2026

I was transported back to 1970's Essex whilst watching Caxton Theatre’s production of Abigail’s Party, by Mike Leigh. Sartre espoused the concept that Hell is other people, Mike Leigh builds neatly upon this concept. Beverley and Lawrence have arranged a little soiree for their neighbours. It all begins very well, despite the incredibly cringe-inducing social one-upmanship on display. Beverley and Lawrence seek to persuade everyone that they enjoy the perfect married life, though their words and actions suggest that it is anything but perfect, as they bicker and belittle each other.

The more alcohol that is consumed, the more hideous the levels of behaviour. Director Debbie Shepherd just “gets it”. Her attention to detail is impeccable and she helps the cast to inhabit each character richly. The set is a sumptuous explosion of 1970s excess and colour and the soundtrack we visit throughout the production is wonderfully nostalgic.

The backstage crew as well as the cast, provide a witty, well-timed production. The entire play is set within a single location, Beverley and Lawrence’s sitting room whilst next door, Abigail, the neighbour’s daughter is throwing a party. I enjoyed the way the sounds of the party drift in and out of our consciousness during the action, sometimes replaced by music played on the Moss’s stereogram – particularly the song styling of Demis Roussos.

The pivotal role of Beverley is played by Jo Forster. Beverley is one the parts that allows the actor cast to really throw caution to the wind in an over-the-top performance and I am pleased to say that Forster did just that, playing her with malevolence and spite and a total lack of self-awareness. As the alcohol takes hold, Beverley becomes evermore vicious and critical of others but has some delicious lines to deliver and Forster does so with aplomb.

Chris Dempsey played Lawrence. This is a performance of controlled anger, frustration and sheer devilment that the audiences will really respond to, as Lawrence moves swiftly from vitriol to sweetness with the blink of an eye. Dempsey gets a lot of really good moments to take the audience on a journey during which they will develop an intense frustration with the character to the point of almost wishing him ill.  And yet there is a subtle pathos to this portrayal of the stubborn and belligerent Lawrence.

The role of Beverley’s dippy new neighbour, Angela was played by Debbie Appleyard. Appleyard absolutely leans into the character inducing hilarity from her ineptitude both socially and physically. Angela’s relationship with the others on stage is fascinating, she is one of nature’s natural chatterboxes and yet remains oblivious to that which occurs around her, often in plain sight, including the incredibly unsubtle flirting between Beverley and Tony. I have no doubt that this week’s audiences will roar with laughter at Appleyard’s portrayal.

Angela’s taciturn husband, ex-professional footballer, Tony is played by Byron Young. It is difficult to know if he is economical with conversation because he is naturally truculent or because Angela rarely allows him to get a word in edge ways in any conversation. Young captures the character well and makes the most of the fact that Tony has limited lines by employing some powerful body language throughout. We are well aware that Tony is like a simmering pot ready to burn and we sense is hasty side as he snaps at his wife. However, Young manages to suggest far more in his performance than appears on the pages of Leigh’s script.

As next-door neighbour to Beverley and Lawrence and mother of Abigail forced out of her home by the titular party, Alison Stretton provides a marvelous caricature as Susan. Clearly from a better class than Beverley and Lawrence, Susan’s discomfort is clear throughout and the juxtaposition of the two neighbours provides much humour. Beverley’s overbearing harridan contrasts beautifully with Susan’s uncomfortable fussiness.  When repeatedly plied with alcohol by Beverley, Susan’s inhibitions begin to shatter and in this Stretton was utterly convincing.

This production is full of satire, humour and heart; the cast clearly love bringing these “creatures” to life and no small amount of cheese and pineapple, crisps and peanuts are consumed to accompany the alcohol. From the opening picture of Beverley cigarette in hand to the closing image as the curtains close, Debbie Shepherd and her team have created a production to be proud of and will undoubtedly entertain audiences throughout the entire run of the show. The show itself runs until Saturday 2nd May and performances begin at 7:30 pm. Some tickets are still available for certain performances.

Andy Evans 25 April 2026