Mike Leigh’s Abigail’s Party has long been a cult-classic, its biting satire of suburban life immortalized in the 1977 BBC Play for Today starring Alison Steadman.

With the recent production at Mercury Theatre, directed by Jack Bradfield, audiences were invited to revisit this iconic piece.

While there were some standout performances and inspired moments, the play wasn't quite the same as the original TV version.

Laura Rogers took on the role of Beverly, the self-appointed queen of suburbia, with flair. Her performance was both commanding and captivating, embodying Beverly’s brashness and charisma.

Rogers successfully captured the tension between outward confidence and the insecurities bubbling beneath the surface, providing some of the play’s most memorable moments.

The chemistry between Rogers and Leander Deeny, who played Laurence, her long-suffering husband, definitely added depth to the marital strife that underpins the show.

However, the production was not without its flaws.

Deeny's performance lacked the uncomfortable, suffocating tension that defined the original, leaving his scenes feeling out of sync with the rest of the production.

Chaya Gupta's portrayal of Angela failed to convey the stark contrast intended with Beverly, lacking the initial meekness that would enhance her character arc.

Similarly, Amy Rockson's performance as Susan fell a bit flat, missing the emotional depth and tension necessary to reflect her underlying trauma.

The notorious awkward silences that Mike Leigh masterfully used to intensify the discomfort in the original TV play didn’t quite hit the same mark here.

Instead of adding to the tension, they often felt forced or drawn out. 

The balance between comedy and underlying menace was uneven, which diluted the emotional impact of the climax.

Consequentially, the final scenes, which should leave the audience unsettled, lacked the gut-punch needed to make the play truly resonate.

The soundtrack also felt more rooted in the 1980s than the 1970s.

There’s no denying the talent on stage, and the set and direction provided moments of brilliance.

It just felt it fell short of delivering the sharp, satirical edge that made Abigail’s Party a classic in the first place.