f you think the bedroom farce is a thing of the past you’re wrong as Tim Plewman proves with his latest play. Having learned from the best - Rex Garner, who not only was his mentor but firmly established the genre in South Africa in the 70s, Tim has written a farce which is fresh, fast-paced and guaranteed to appeal to ALL adults.

It’s impossible to highlight all the madcap ploys and I wouldn’t want to as the object of this review is to entice you to see the play. However, saying that favourite characters and their idiosyncrasies spring to mind. Malcolm Terrey as the drunken butler is reminiscent of ‘Dinner for One’ while Darren Maule as the nephew – Evenfold Penbroke, shows that one will do anything to keep the peace even if it includes a bit of cross-dressing.

This is verbal repartee at its best and although the audience are always in the know, there’s a sense of expectation of what the next mishap will be. 'Grin and Bare It' is an absolute MUST SEE!

Behind the scenes with Tim

Although 95% of the farce is dependent on the script the actors still have leeway to ‘improve’ their characters bearing in mind that there are specific ‘targets’ on stage so that they do not trip one another up in the magnificently orchestrated moves.

This is the first ‘serious’ play in which writer, actor and director – Tim Plewman, has performed since he concluded his run of the phenomenally popular ‘Defending the Caveman’. Over the intervening years he has managed to write a play a year (which could also be a musical or TV series) – and this is a target he has set himself. The ideal setting is at his cottage on the Wild Coast where his office overlooks the sea and he puts in the hours ‘just like any other job’.

However, re-introducing the bedroom farce has been a challenge in itself as techniques have changed over the years and in order to create the necessary sound effects he battled to find the equipment. Ultimately, however, he succeeded and the farce wouldn’t be the same without them as they stimulate the imagination.

As mentioned above Rex Garner was Tim’s mentor and “I’m now the same age as he was then,” he says with a smile. The farce is an art which has been passed down through the generations “guy to guy – all the way back to Shakespeare”. But, for the play to really succeed an outside eye is necessary and to this end comedian Joe Parker has been brought into the fray – the first collaboration between Tim and Joe, even though their friendship spans the years.

Joe is a “legend” at stand-up comedy and totally “dependable. The best you can get!” according to Tim who is now able to hand over the burgeoning administration that comes with this particular production. For Joe, who has a keen sense of humour and has moved on to the admin side, this is the best of both worlds.

For a playwright, it’s also been an absolute boon to be housed at Carnival City. “They’ve been wonderful,” Tim says, “so few people are willing to take the risk on a new play.” This view is seconded by Joe who echoes that “this is an amazing venue”.

It’s hard to believe, but Tim originally never planned to go on stage. “I was a guitarist,” he says, “who was convinced (by a friend) to go to dance classes (to pick up girls). There was an audition to which the class was invited and I was asked to go along… (slightly embarrassing) I was the only one to get a role… From the moment I walked on stage I thought ‘I can do that!’ and that’s how it started.”

With respect farce he adds: "It’s all about timing – understanding and listening to the audience. It’s more than just the performers – it needs perpetuating and that’s through the laughter of the audience and knowing that they had a really good time. Laughter ‘lifts’ an audience and washes away all their worries and becomes a positive experience.”