The Blackwood Players’ latest offering of “Some Mothers do ‘ave ’em” is like taking a nostalgic ramble down British sitcom memory lane. Director Myles Leon has steered his team down that path to create on the Blackwood Memorial Hall stage a living room full of characters we recognise from the telly 50 years ago. That space along with a side kitchen interior spans the whole of the available playing area and is designed by director Leon. There’s a lot going on within this expansive interior. A chicken (the surviving cock bird) has been afforded safe haven from a marauding fox in the garden. The front door chimes emit a ghastly peal and can only be controlled by bashing on the wall near the door frame. Near to this front entrance is Frank Spencer’s Magic Music Box given to unpredictable emissions and also controlled by vigorous stomping on the floor next to it. The various lights around the room seem to have a circuitry all of their own and the upstairs lavatory sounds to have very dodgy plumbing or a blockage or both! The sum of this equation adds up to pretty much the ways in which we recall the environment of the hapless yet well meaning Frank and his long suffering spouse, Betty. Frank’s partial solution to one problem merely creates several others.
Stage Manager Felicity Small has the unenviable task of ensuring all the technical bits and pieces of the Spencer household do just what they need to do on cue. She does this remarkably well. The unpredictable lighting (designed by Tim Gladdis and operated by Mason Willis) always does what it’s meant not to do, and the many instances of appropriately placed sound effects (designed by Leon and Small and operated by Mason Curtis) simply don’t miss a beat. The backstage Tech team was on the ball from curtain up to curtain call. Well done.
As for the plot? Well, suffice to say Frank is excited because he believes he is to be auditioned for a show on the BBC no less. However, this transpires to be a ruse so that local police might solve the whereabouts of a valuable ring which has disappeared during one of Frank’s magic tricks. The plot is merely window dressing. Our real focus is upon the Spencer family. Richard Harman makes his stage debut as Father O’Hara who, during the second act, spends much of his time in the upstairs loo, appearing to report his growing plumbing concerns. Richard will no doubt benefit from his first time association with stage work. John Broadley (as both Worthington and the “BBC” representative Luscombe) delivers a creditable performance in his dual roles. Likewise Zachary Baseby (as cameraman James and then as the police constable) demonstrates confidence and clarity with his diction and line delivery.
Betty’s widowed Mum, Barbara Fisher, who is none too subtly on the lookout for a male companion is played with gusto by Cherylene O’Brien. Her stage experience shines through her well constructed character. Her diction is loud and clear and Cherylene demonstrates her “feel” for good comic timing. Her body postures whilst unconscious really tickled the fancy of the small but enthusiastic audience. Aled and Deborah Proeve as onstage husband and wife play off one another with consummate ease, Deborah’s Betty (’tis impossible not to hear Frank saying her name!) is the perfect foil for her chaotic spouse. Her trademark qualities of being quiet, sensible and totally long-suffering are well transmitted to the audience. Aled Proeve’s portrayal of Frank Spencer is wrapped up in a well considered package. His accent and his vocal inflections are well rehearsed, nicely timed and well paced throughout. Aled possesses a natural feel for the stage and his well developed portrayal of Frank Spencer is most believable.
I do hope the Blackwood Players fill their warm and welcoming cabaret setting to capacity in all their remaining performances.
