Some Mothers Do 'Ave 'Em

The auditorium was full, and I had no doubt that there were a number of people in the audience who were wondering, like myself, how, this well-known comedy, first aired on TV 50 years ago, was going to be presented on stage, not in a studio, at The Grange Playhouse. This is a play where nothing is uncomplicated when the hapless’ Frank Spencer,’ is around and where slapstick humour and physical comedy must work. And it did work, because of a determined director and a lot of external support, and a strong team behind the scenes. There was no shortage of attention to detail in every aspect of this play, from the choice of jars on the kitchen shelf to the physical comedy. This is a credit to the innovative director, Kerry Jones, a talented cast, who were well rehearsed, and an impressive set designer, Martin Groves. His creative efforts ensured Frank Spencer made a complete disaster of everything and it became practicable on stage to show.

Against 1970s orange and brown wallpaper the walls were adorned with pictures of Englebert Humperdinck, Bruce Forsyth and an image of Jesus. It was a remarkable set construction in its entirety, including a front door, a staircase leading upstairs with a banister and a partitioned equipped kitchen with 1970s appliances and a sink with taps under a window, and a kitchen door. At the side of the front door was an original tri phone on a table that trilled when it rang, and a wall on the other, which had to be thumped every time the doorbell went, to stop the flickering table lamp, evidence of Frank’s electrical wiring incompetence. It was thoughtfully furnished to include a two seated sofa, a Wendy house, (to house his chicken brought in from outside, as required by the script) and a bookcase at the top of the staircase, which was at one point used to hide torn wallpaper. There was an authentic kitchen table, around which were three chairs, one with a leg missing, rendering it unstable. Effectively there were two rooms on set. The staging was remarkable and reflected a humble home of Frank with his inadequate DIY home improvement skills, which revealed themselves to be destructive at the most inopportune moments in the play much to the hilarity of the audience. Things fell off, shelves collapsed, water squirted from taps even a baking tray burnt on the cooker. The first Act ended with a surprise explosion, leaving Father O’Hara (Carl Horton) spluttering, covered in soot, and staggering and an audience laughing out loud. Stan Vigurs (Lighting design and operation) and Colin Mears (Sound) captured such comical moments with remarkable effect also. This production demonstrated well timed coordination behind the scenes and astounding delivery of the characters as intended by the script.

The play opened with Betty, played by Christina Peak, (Frank’s long-suffering wife), explaining to Father O’Hara that she is pregnant and she didn’t know how she would break this news to her unworldly husband. When unemployed Frank, portrayed by Roger Shepherd, appeared on the scene, he burst through the door, explaining that he had just come back from a magician’s audition which had gone wrong when the diamond watch he made vanish, did not reappear. Betty understands that even when he messes up, he truly means well and patiently tried to tell Frank that she has some very important news for him. Unfortunately, she was unable to gain Frank’s attention as events begin to spin out of control and a procession of dinner guests and visitors started to arrive. The misunderstandings and conversations between characters at cross purposes accumulated, and with the play on words a key element to the humour, alongside the hilarious consequences of Frank’s useless DIY efforts, this play with its unpredictable ending, was a triumph.

Dialogue between all characters was well paced and sharp. Disastrous prone Frank was played well by Roger Shepherd. His mannerisms, anxious twitches, and childlike antics, including fingers plucking at his clothes, were spot on for his characterization of Frank, as well as his tongue twisting explanations. One laugh out loud moment I recall was when he fell through the rails on the stairs exclaiming,” I’ve been articulated!’ Christina, in role as Betty was superb. Her love for Frank was reflected in her soft, gentle voice tones that showed kindness and unflappability even when havoc wreaked around her. Joanne James has great stage presence and was amazing in the part of Mrs Fisher, Frank’s flirtatious mother-in-law. At one time in the play, she became increasingly more intoxicated on prune wine, and this was most convincing in her body language, facial expressions and verbal interactions. Steve Hyett adopted the role of Mr Worthington with ease and conviction. He was believable in his characterisation, faultless. Carl Horton commanded our attention in role as Father O’Hara whose involvement to offer moral support to Betty and Frank was admirable. In one scene Carl’s character met different stages of near catastrophe when he nearly choked on an apricot stone and then fell off the three-legged stool. The agony and shock were so well improvised, so plausible, for he looked visibly exhausted after the experience. Jill Simkin played Leslie Robin with charm and conviction.

This was an immensely entertaining experience and very funny in places. Characterisations were strong and dialogue uninterrupted. Kerry, the director had her vision for this performance realised with the support from Martin and a large team of backstage crew. Well done and congratulations to everyone involved, for you have worked hard.

Thank you for inviting me.

 

 

 

 

 

 

 

 

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