From an actor’s point of view you have to take playing a character in a farce as seriously as you would a character in Chekov. Unless you take it seriously it ain’t funny!”

From this philosophy it is clear to see why Susie Blake gives one of the stand-out performances in the touring revival of Boeing Boeing, which comes to the Theatre Royal next week.

Director Matthew Warchus’s production has already been a hit at the West End, and won a Tony Award last year when it transferred to Broadway. Not bad for a French farce originally performed in 1960.

A number of factors have ensured it doesn’t feel too dated.

“It has been restored by Matthew,” says Susie, following a matinee performance at Wimbledon’s New Theatre. “Where there was any doubt about a line, he went back to the original French dialogue. Often it wasn’t there in the French script.

“I don’t think this translation will date. It has a certain charm which is timeless.”

It’s a feeling which Matthew echoes himself.

“I think its brilliance lies in the fact that in addition to being an extremely well-constructed farce, with a very strong conceit at its centre, it has a simple and classic set up,” he says.

Set in the late 1950s, when jet travel was starting to become popular, Boeing Boeing tells the story of a philandering Parisian who uses airplane timetables to ensure his three air hostess girlfriends never encounter one another.

His life is thrown into chaos with a visit from his country cousin Robert and the introduction of the new Boeing jet, meaning plane travel times suddenly become shorter.

He is left trying to make sure his girlfriends don’t meet, aided by his long-suffering and dour housemaid Bertha, played by Susie.

“Everyone is sympathetic towards Bertha,” says Susie. “She has a terrible life, not having much fun, cooking all these different meals.

She’s not going to help her boss, but she won’t tell on him either. The character wouldn’t work if she was helpful and upbeat.”

According to Matthew there is more to Boeing Boeing than slamming doors and a myriad misunderstandings.

“It’s extremely romantic,” he says. “The real success and effect this play has on people comes from the fact that it’s a romantic comedy with farcical episodes, more than simply a farce.”

Matthew still had headaches trying to choreograph the action and make sure there were no unexpected surprises.

“A large proportion of the rehearsal time is spent working out where the doors should be, what the timings of the entrances and exits should be and where the key props need to be hidden or discovered,” says Matthew.

“It takes very intricate three-dimensional mathematics to work it out, but I love all that.”

Matthew has added one extra set piece to the farce – a glamorous curtain call for all the cast – something Susie is particularly pleased about.

“When I took the part I realised I would have to wear these drab maid’s clothes,” she says. “My gift comes in the final curtain call.”