“[A]lthough directors, actors and audiences still love the genre, 21st-century playwrights don’t seem to be drawn to it. … It may be that good farce has to be written in the theatre the way Feydeau did it, requiring a semi-permanent ensemble of actors to try out ideas. … Others argue the genre was the product of a vanished era of bourgeois respectability: we are no longer bound to keep up appearances.”