It's about a supposedly enjoyable party that soon becomes a hilarious and tragic disaster. And all is due to the ambition of being part of the middle class. The play is a portrait of people of that time, but nonetheless its themes are really up-to-date. For example, everything and everyone must be at Beverly's command so you can guess that it is unsafe to be victims of the desires of people like the cold-hearted Beverly, because events could take the wrong turn.
This charming film is blessed with very talented actors who develop very peculiar characters. I really recommend it because it is clever thanks to the analysis of social reality and at the same time you can enjoy yourself with a good laugh. Details Edit. Release date November 1, United Kingdom. United Kingdom. England, UK. Technical specs Edit. Runtime 1 hour 42 minutes. Contribute to this page Suggest an edit or add missing content. Edit page. See the full list. Watch the video. Recently viewed Please enable browser cookies to use this feature.
Learn more. Here are some of our favorite resources to help maximize theatre e-learning and enjoyment. Shows Abigail's Party. Log in to add yourself as a fan! Show Information. Mike Leigh. Number of Acts. First Produced. Comedy, Satire.
The home of Beverly and Laurence Moss, s. Cast Size. Concord Theatricals. Ideal for. Casting Notes. Mostly female cast Includes adult characters. Lead Characters. Beverly Moss Abigail's Party - Play. Log in to add to your bookmarks! Laurence Moss Abigail's Party - Play. Tony Abigail's Party - Play. View More. These are people we recognise and understand. The play is a lamentation, not a sneer. Returning to my own feeling about suburbia, I feel obliged to confess to a whole other matter.
In many of my films you might detect what, I have to admit, is undoubtedly a deep-seated nostalgia for quiet Saturday afternoons, silent back gardens, cars parked in empty streets, even twitching lace curtains.
In the end, our native world is in our bones, like it or not — and, in truth, I do. Out of the blue, I was invited to have lunch with Michael Rudman, the artistic director of the Hampstead theatre in north London, and his general manager, David Aukin.
I was preoccupied, not only with the film, but with doing up the house, as Alison and I had decided to try for our first baby. Nevertheless, I went.
Apart from anything else, I am always on for a lunch, and this was to be in an excellent Chinese joint in Belsize Park. They explained that they had a problem.
But under the rules, if a theatre made such a profit, they were obliged to give it back to the funder, the Arts Council of Great Britain. I told them emphatically that it was quite out of the question. I was busy, and that was that. But these were persuasive men, and, course by Chinese course, they wore me down, and finally I agreed. I went home. Then I suggested that Alison be in it. She hesitated. She really wanted to devote time to domesticity.
But as it was to be a quick, forgettable job, she relented. It was a smash hit, the hottest ticket in town. So successful was it that Rudman and Aukin decided to revive it later in the year, over the summer.
Again, it was a sellout. Now no less than seven West End managements wanted to transfer it. But we had hit a snag.
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