Bedside Manners

Farce in theatre is described as ‘a type of comedy that places exaggerated characters in improbable situations where they face a number of outrageous obstacles.’ And believe me, Therry Theatre’s production of Derek Benfield’s Bedside Manners could be the basis for that definition.

The play is set in a country inn which has seen better days. The owner talked her brother Ferris, played by David Sinclair, into managing it for her while she went on a seaside holiday to Frinton. It’s spring, the season of romance. The hotel has two rooms that we see, a green room and a ‘very blue’ room. There are two couples booked in for a ‘dirty weekend’ but things are, as all good farces dictate, not what they seem. The five characters collide in a series of totally improbable situations. Unsurprisingly, both men check in under the pseudonym Smith.

As the story unfolds, (spoiler alert) we discover there are characters who are actually married to each other, and of course, neither of the couples has told their spouse where they plan to spend the weekend. This causes all manner and means of problems which entangles the nefarious Ferris in lies and deception as they all try to keep each other - wives and husbands, albeit, aspiring adulterers, apart.

Erudite Steven Bills as well-dressed Roger is ensconced in the green room waiting for Sally. Scruffily dressed Geoffrey, played by respected comedy actor, Patrick Clements is in the blue room waiting for Helen. As it turns out, Geoffrey is married to Sally and Roger is married to Helen – let the farce begin!

Sinclair plays Ferris as completely confused at the start, but as he begins to understand the situation, he manipulates and elicits bribes at every opportunity. Sinclair generates great audience response with good timing and physical comedy. He immerses himself in the character and the audience reacts with laughter and spontaneous applause at his quips and antics.

Bills as Roger and Clements as Geoff are an excellent ‘odd couple’. They work themselves into a complete panic whilst thinking up quick lies and racing around like maniacs. Meanwhile Sally, played by Leah Lowe - who makes a fine gin soaked drunk, and Helen, the epitome of innocent clumsiness, played by Rose Harvey, manage to remain relatively calm and somewhat in control of the situation even though they have no real idea of what’s taking place.

This is a play with lightning-fast dialogue and hectic physical pace. By the time the curtain comes down the actors must be exhausted because the audience certainly is, having gone on this mad romp with them!

Jude Hines has displayed great skill in directing a clever cast. The movement in farce is critical to the success of selling the story. Each step taken by a character, no matter how ‘farcical’, must flow or the story is constantly interrupted.