Thanks to Feydeau and his followers, we tend to think of farce as the most sex-fuelled of genres, full of randy bourgeois types, bent on bedding one another, who desperately struggle to keep up a front of respectability as the frenzy mounts and their reputations disintegrate with a hurtling, remorseless logic. The improprieties are a good deal less priapic and the pace considerably gentler in the work of Ben Travers, whose 1927 Aldwych farce is now engagingly revived at the Park Theatre by Eleanor Rhode for Snapdragon Productions in Clive Francis's new adaptation.
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