Form and Structure of ‘Abigail’s Party’ Emily Huntley Essay

Mike Leighs Abigails Party was primarily shown on television and wasnt initially meant for the stage, until it was realised how successful it was.The p great deal is based around a mirror of two get downys, one involving 5 adults all living in the same e call forth but of very contrasting backgrounds and classes which Mike Leigh in addition depicts, and the other of the sixteen year old daughter of Sue, whos organised a typical teenage rave. The essence of the gyp is that generally speaking the younger generations should be observed at parties but in Mike Leighs example the irony is that the adults count just as drunk and obscene as what is imagined next door. This is where the buffoonery arises and is developed throughout the gaming as the adults keep a close eye on the teenagers but there is no one to observe the adults.Mike Leigh has also drawn the aid of the audience by focusing on class by contrasting the classes of the characters, Beverly and Lawrence who are aspiring fo r true middle class, a poor newly marry couple and a middle class divorcee. This situation in itself is controversial due to Sue not being nearly as wealthy as Beverly and Lawrence but being by far the most cultured of the group. Another example of this would be shown in Ang, her occupation as a nurse erect actually be called a well known and accepted profession, although she has little money and isnt well cultured or travelled, as an outsider you bottom of the inning see the intelligence that Mike Leigh has tried to depict over the other characters.The swordplay is composed of two acts, both of which surprisingly end with the focus on Sue, the most timid character. I think this was purposeful on Leighs behalf as although she seems to be a pretty insignificant character she holds a lot of unknown power over the people in her company. Especially Lawrence who realises her class is above his and he aspires to be like her by seeking her approval.As the play develops so does the amou nt of alcohol consumed and the tension between the two married couples. Especially from Beverly and Lawrences points of view as they start verbally abusing each other in the presence of their guests, which I believe would not occur otherwise as Ang, Tony and Sue would realise their true characters. Therefore I could also state that the play is structured around class, parties and also alcohol.Everything in the play including props, lighting and sound effects is ultra realistic. The set includes real food and drink with a working record player and lamps, which provide the naturalistic lighting throughout the whole play, and the constant thumping from next door really makes the situation believable.To elevate the realism, Mike Leigh also wrote the play in real time, this means that the duration of the play is natural over the period of an evening, with no days or hours skipped.Another tool used by Mike Leigh to develop true realism is the use of colloquial dialect. There is no stylis ed or poetic language and also no imagery used. It is written so the audience can easily place themselves in the characters positions.Discussing the structure of the play is hard considering the definitions of A Well Made Play1.) Exposition (introduction of characters and situations)2.) Conflict (a huge problem is bought to the surface)3.) Complications (the problem develops)4.) Climax (the most dramatic, and tension filled part of the play)5.) Dnouement (the resolution)The exposition occurs between pages 1 and 13 when the characters are introduced to each other and also the audience. This is the period when the audience makes their own assumptions of the characters, and they can recognise distinct relationships and tensions. This is when we also realise about Lawrences hectic lifestyle and frequent suffering of perfumeburn so that his heart attack doesnt come as a complete shock and the audience understand and sympathise more.The conflict is primarily to do with Beverly and Lawre nces relationship and the strain that it is constructly under. But we also see the stress between Angela and Tony periodically.The complication is when the tension builds as more and more alcohol is consumed predominantly between Lawrence and Beverly.The climax is clearly Lawrences heart attack, which is the outcome, of a stressful job, a nagging wife, being polite to unwelcome guests the consumption of alcohol and the constant thumping of the party next door. This is when the focus and father of the play changes completely from the future life these characters exhaust built themselves to the present situation.Lastly the dnouement. In Abigails Party there doesnt seem to be a definite resolution, the play is left on a cliff hanger as the audience is left in the dark as to whether the conflicts have been resolved and if not the final outcome of the situation.Abigails Party is referred to as a comedy, but of various types, it contains a slight element of black comedy in the fact tha t Lawrence has a heart attack. But throughout the play, Leigh develops another form of comedy, not through one-liners, but due to the characters dialogue and movement etcetera For example, Tonys monosyllabic answers, Angelas lack of social etiquette, Sues shyness and total dislike of the situation, Lawrences frequent cultural references even though everyone can see he is uneducated in Shakespeare and Beethoven and is simply attempting and failing to reach a higher social class (nouveaux riches). And Beverlys clear lack of self-control concerning Tony and insulting Angelas lipstick.Abigails Party is essentially written as a comedy, until the end, which presents more opportunities, and shows a more tragic and retrospective feel. This play is unique in that it is completely down to the director as to how they depict it as it can be of two extremes tragic or comic, excluding Lawrences death, which is clearly comic with the reference to Angs cramp etc. In the production I saw, it was co mic and I thought this worked well but having considered it to be a tragic play I think this could be just as effective.