Some Mothers Do ‘Ave ‘Em

As the lights dimmed and the familiar theme tune to “Some Mothers Do ‘Ave ’Em” began to play, I was instantly transported back to the 1970s, sitting in front of the telly with my family, laughing at the madcap antics of Frank and Betty Spencer.

The curtain rose at the ADC Theatre in Cambridge to reveal an impressive set: a grand staircase taking centre stage, an external door stage right, and a kitchen with serving hatch and even an understairs cupboard stage left. The period-accurate décor, complete with gaudy 1970s brown and orange wallpaper (with a cheeky Bruce Forsyth poster halfway up the stairs), set the scene perfectly for the chaos to come.

The show opened with Emma Cracknell as Betty Spencer. Her voice was uncannily accurate, immediately evoking memories of the beloved TV series. Cracknell captured Betty’s accent, intonation, and comic timing perfectly—her performance was spot on from start to finish.

We also met Rob Marsden as Father O’Hara, the Irish priest. Rob’s characterisation was reminiscent of the classic sitcom priests (think Father Ted), delivering consistent comedy and superb timing throughout.

Enter Frank Spencer, played by Barry Mullins. Taking on such an iconic role is no easy feat, but Mullin’s physical comedy and attention to Michael Crawford’s original mannerisms were evident. The long, rambling monologues—full of confused thoughts and tangled sentences—were delivered with expert pacing. While there were moments when I wished for even more energy and an extra dash of Crawford’s distinctive vocal quirks, Mullins did a tremendous job bringing this beloved character to life.

Betty’s mother, played by Joanna Morgan, truly came into her own in the second act as her character grew steadily more tipsy. Her performance was hilarious and perfectly suited to the escalating chaos of the Spencer household.

Sarah Colwell and Joe McWilliams, in their dual roles as the bank manager/film producer and videographer/policeman, also impressed. Initially, I was puzzled why Colwell took on the traditionally male bank manager, but her portrayal, along with the use of contrasting Scottish and English accents, added to the confusion and comedy of the piece. Once I got used to it, I thoroughly enjoyed her performances in both roles.

But the real star of the show was the ingenious set and technical wizardry. True to the spirit of the original sitcom, Frank’s DIY disasters were front and centre. The team behind the scenes deserve enormous praise: every technical gag—from the doorbell that stopped with a thump on the wall, to the flickering light triggered by banging the table, the shelving unit collapsing at precisely the wrong moment, the kitchen taps erupting and flooding the stage, to the collapsing chair and, in the pièce de résistance, the banisters that Frank managed to dismantle as he slid down the stairs—was executed flawlessly. The timing was impeccable, and I would have loved a backstage tour to see how it was all achieved. Bravo to the entire technical crew!

Expectations were high for this production by the Hilarity Theatre Group, and they did not disappoint. I was swept back to my childhood and thoroughly enjoyed revisiting the pandemonium of Frank and Betty Spencer’s world. Congratulations to Samantha Bardini, director, and to all involved—it’s no mean feat to adapt such a beloved TV show for the stage, but this team pulled it off with flair and affection.

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