8 July – 17 August 

As a child growing up in the 1970s I have vivid memories of the golden age of British TV sitcoms – The Good Life, Fawlty Towers, Terry and June and Are You Being Served? to name but a few. Some Mothers Do ‘Ave ‘Em was one of the most popular, regularly attracting television audiences of 25 million people; Frank Spencer was one of the iconic comic characters of my childhood. Such was his cultural capital he became the target of a slew of TV impressionists and comedians, all endeavouring to capture his distinctive mannerisms and “Ooh Betty!” catchphrase more accurately than their rivals. Looking back, it seems a lifetime ago. In so many ways, society has changed a lot since 1973.

Following their recent and much more contemporary shows Midsummer and Constellations, Artistic Director Iwan Lewis and his team have opted to bring director Guy Unsworth’s stage rendering of Raymond Allen’s TV series to the Barn for their latest six-week offering. The most obvious question would seem to be “Why?” In 2024, do we still have an appetite for the hapless Mr Spencer and his litany of comic mishaps, misadventures and misunderstandings? Lewis talks of his desire for us to feel the “warm embrace of something familiar”, for us to immerse ourselves in “belly laughs and heartwarming nostalgia” which perhaps reflects the intended target audience of a slightly older Cotswolds social set. As the piccolos piped Ronnie Hazlehurst’s familiar theme tune I was intrigued as to what the next two hours would have in store.

What followed felt like an extended bonus episode of the TV series, such was the accuracy with which Sam Denia pulls off an uncanny impression of Michael Crawford. Denia delivers a masterclass of comic acting, not only mimicking Frank Spencer’s voice and mannerisms perfectly but also displaying a gift for physical theatre, energetic slapstick and a mastery of comic timing. Furthermore, he simultaneously teases out all the insecurities and vulnerabilities of Spencer which make him such an endearing and human character. Laura Anna-Mead is equally as convincing as Spencer’s long-suffering, but compassionate and understanding wife, Betty. An impressive supporting cast completes the requisite roll-call of 1970s character archetypes, but do so with a huge sense of fun and enthusiasm. It is slick, hilarious, and extremely well-rehearsed, especially for so early in the run. Unsworth’s script bristles with humour too, with plenty of malapropisms and slightly suggestive double-entendres for Denia to keep the audience chuckling. There is certainly plenty here to engage and amuse the next generation of Frank Spencer fans as well as those old enough to remember the original.

Technically, the show excels too. True to the spirit of the TV series, Alfie Heywood’s one-room stage is rigged with all manner of theatrical tricks and technical wizardry, all of which are timed to perfection and hilariously convey the trail of comic chaos and carnage which Spencer leaves in his wake.

So whilst this is a show which clearly sets out to make us laugh  – and succeeds admirably – it is the resilient relationship and heartwarming love between Frank and Betty that lies at its core. In a modern world where we, like Frank, might often find ourselves overwhelmed by chaos and the unnerving feeling that things are beyond our control, the show encourages us to laugh at Frank’s failings and foibles….and we do because they are also ours. And sometimes, we just need a bloody good laugh too. Michael Crawford and Michelle Dotrice would be proud.

 ★★★★☆       Tony Clarke `12 July 2024

photographers credit @ Eilwen Jones