The challenge when directing a play written 40 years ago is to make it fresh and relevant for a modern audience. Ayckbourn wrote “Bedroom Farce” long before the world buzzed with constant casual communications, and Ayckbourn’s plots frequently revolve around miscommunication. Director Peter Buller made the wise decision not to stray from the 1970’s and we soon accepted the lack of email, texting or mobile phones in an era where making a call seemed so much more complicated.

The more obvious challenge concerns the staging of the play, especially in such a small, intimate theatre as The Playhouse, since the action takes place simultaneously in three different bedrooms. The award-winning stage team of Pateley Bridge Dramatic Society led by Stan Appleton created a triumphant set with three clearly demarcated rooms. Steve Hunt’s clever use of lighting effectively indicated “live” action in specific areas to enable the audience to follow the movement between the bedrooms with ease.

The play isn't a farce in the traditional sense of the term: it is far more of a wholesome comedy concerning four couples and three bedrooms. There is one illicit kiss (although it’s hardly scorching) and the most any couple gets up to in bed is eating pilchards on toast! Humour, however, there is in plenty in this comedy of manners.

As the audience took their seats they soon became aware that one of the three beds was already occupied by the hapless Nick, played superbly by Tom Barber, and apart from a spell when he fell on the floor, he remained in bed throughout the entire evening, including the interval. Nick’s bad back prevented him from leaving his bedroom but not from grouching and whingeing “Why me?” at regular intervals. Tom was entirely convincing as a spinal injury patient who struggled to find a comfortable position and when he fell out of bed whilst trying to retrieve his book, the audience was torn between concern and amusement.

The play began in the bedroom of Ernest and Delia who were preparing to go out for their anniversary. Keith Burton and Debbie Forsyth played a typical middle class, very English couple, giving us glimpses of their safe and somewhat unexciting marriage. Keith and Debbie gave beautifully poised performances: Ernest a mixture of anxiety and conservatism and Delia, outwardly self-assured yet strangely unconfident when dealing with her daughter in law, Susannah.

Across the stage, Malcolm and Kate prepare for their own celebration: a house-warming party in their new house which is in the process of being decorated. Malcolm, played with commitment by Michael Thorne, was a DIY enthusiast: his inept assembly of a chest of drawers off stage was punctuated with just the right amount of swearing, banging and over-confidence to produce a cringing sense of recognition from many in the audience. Carol Bailey in her role as Kate gave a finely judged performance with superb facial and vocal expression. Her indefatigable optimism in face of her husband’s bumbling incompetence and guest Trevor’s thoughtlessness came across as very believable – a true testament to this actor’s talents.

Jan, played with great verve by Heather Appleton, has limited sympathy with her ailing husband Nick. This pairing brought gales of laughter from the audience as she tussled with his self-pity and later with his body weight as she woman-handled him back into bed after his fall to the floor where he lay for a considerable part of the action. This particular interpretation was a real highlight as the part of Nick could so easily have been overplayed or been made tedious. Tom Barber had just the perfect touch, delivered with immaculate comic timing. Heather was a marvellous foil to his character and whenever they were in the spotlight, the audience was delighted.

The final couple, neurotic Susannah and the infuriating Trevor, were played by Sarah Burton and Ben Derrick. Trevor, the spoiled son of Ernest and Delia, arrived at Kate and Malcolm’s party to bring havoc to all he surveyed. Sarah Burton brought a refreshing, clear silliness to Susannah that brought chaos to the two bedrooms that she visited. Sarah never allowed Susannah’s self-absorption and flaky personality, although deliciously comic, to stray into the ridiculous. Although we never saw these two in their own home, we watched them selfishly spread their problems throughout the bedrooms of the other couples, opening up cracks in others’ relationships as they hopelessly tried to salvage their own.

Ben Derrick’s Trevor managed to achieve angst combined with an air of nonchalance that could convincingly be seen as both endearing and exasperating. His indifference to the havoc he created was simple and effective, and making the most of such moments for comic effect was the hallmark of this production. The audience was treated to an excellent evening’s entertainment which they thoroughly enjoyed as witnessed by the enthusiastic applause and relaxed laughter.

Peter Buller’s excellent team came up trumps in every department. Christine Ward’s costumes conjured up just the right sense of time and place, Trevor’s suit in particular catching the eye. Stage Manager, Stan Appleton and his team performed nothing short of small miracles with the set. Sheila Smith supported as prompt and in the box office, and a host of willing volunteers worked behind the scenes. It is clear that the Society is thriving and it is no surprise with outstanding productions such as this.