Tag Archives: Liam Bergin

Abigail’s Party

reviewed at the Queen’s Theatre, Hornchurch on 1 September

This new co-production between the Queen’s Theatre (now with a major renovation project in hand), Derby Theatre, Wiltshire Creative and le Théâtres de la Ville de Luxembourg slides Mike Leigh’s iconic 1970s drama east of London.

Director Douglas Rintoul is well served by designer Lee Newby as we enter the new-build home of estate agent Laurence (Christopher Staines) and his former beautician wife Beverly (Melanie Gutteridge). Her main evening drinks party guest is newcomer nurse Angela (Amy Downham) the not-so-trophy wife of former footballer Tony (Liam Bergin).

Also invited are middle-age, middle-class divorcée Susan (Susie Emmett) whose teenage daughter is holding the eponymous party. It’s a recipe for disaster amid the cheesy-pineapple sticks, nuts, olives and far too many gins’n’tonics. Disasters duly occur.

The hallmark of a theatre classic play is that it speaks as strongly to audiences who may not have been born when it premiered as to those like myself who saw the original production at the Hampstead Theatre. It does require a cast which can live up to it.

Gutteridge’s Beverly radiates bleached and toned blonde selfishness, happy to play off Bergin’s laconic Tony against an increasingly frustrated Laurence. She dominates the action, as Leigh intends. Staines builds the husband who can never satisfy his wife’s material demands into a figure of near-tragic proportion.

Poor Susan is the fish-out-of-water in this particular bowl; Emmett makes her increasing physical and mental discomfort subtly apparent while Downham witters away, apparently willing to be a foil for Beverly’s cattily “helpful” comments on her appearance.

Rintoul keeps the action at a brisk pace, while allowing us to appreciate the basic absurdity of Leigh’s characters. None of them are merely two-dimensional stereotypes, for all that they are each rooted in a particular trench of class and finding shovelling a way out of it difficult.

Four and a half-star rating.

Abigail’s Party runs at the Queen’s Theatre, Hornchurch until 22 September with matinées on 6, 8, 13, 15, 20 and 22 September. A companion piece, Abi by Atiha Sen Gupta, plays between 4 and 22 September at 9.30pm on 4, 5, 8, 14, 20 and 22 September, at 4.30pm on 6 and 15 September and 5.30pm on 19 September.

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Filed under Plays, Reviews 2018

Much Ado About Nothing

(reviewed at the Queen’s Theatre, Hornchurch on 7 March)

Expect a lot of new Shakespeare productions this year – it’s his quatercentenary. Hornchurch under its new artistic director Douglas Rintoul has been quick of the mark with what is my personal favourite of Shakespeare’s comedies – Much Ado About Nothing.

Rintoul and his designer Jean Chan have kept the Sicilian setting but opted for the end of World War II period. There are also some gender-shifts in the casting; Leonato (Mark Jax)’s broher Antonio is now his widowed sister Ursula (Eliza Hunt) and Pamela Burgess doubles Dogberry and Margaret.

What stands out in this interpretation is the characterisation of the two main characters. Thomas Padden’s Benedick and Hattie Ladbury are both outsiders in their respective milieux. One feels that he has developed his blistering wit as a fitting-in device with his fellow officers. She is a land-girl type, preferring slacks to skirts, and perhaps also concerned, as a poor relation, to prove her usefulness to her uncle and aunt.

Both catch the audience’s attention and affections from their first exchanges; we have all of us known the type and understand the vulnerability under the carapace. James Siggins’ Claudio suggests that it is Hero (Amber James)’s fortune as her father’s heir which initially attracts him. Both Liam Bergin’s Don John (all fascist black and bitter with it) and Sam Pay’s rough-hewn Borachio are excellent portraits, and there’s a good sketch of the Friar by Jamie Bradley.

But the play stands or falls by its Beatrice and Benedick. Ladbury and Padden wear these personalities with complete comfort and naturalism. I was waiting for the nervous laugh which so often follows her “Kill Claudio” and his immediate reaction “Not for the wide world”. It doesn’t happen here; just a gasp of horror has the injunction and rebuttal sink in.

Much Ado About Nothing runs at the Queen’s Theatre, Hornchurch until 26 March with matinées on 10 and 19 March.

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Filed under Plays, Reviews 2016