Although the five plays  had long runs and packed houses, most London critics were snobbishly dismissive of them. Looking back in 1980, Michael Coveney wrote of the Whitehall farces, "A tradition of critical snobbery has grown up around these plays, partly because they were so blatantly popular but chiefly because of our conviction that farce, unless written by a Frenchman, is an inferior theatrical species. Once the National Theatre has done its duty by Priestley and Rattigan and others teetering on the brink of theatrical respectability I suggest they employ Mr. Rix … to investigate the ignored riches of English farce between Travers and Ayckbourn."Coveney, Michael. "Simple Spymen", The Financial Times, 11 August 1980, p. 9 The few London critics of the 1950s and 1960s who did not take a lofty view included Harold Hobson, Ronald Bryden, J. W. Lambert and Alan Dent.Smith, p. 70 In 1966, having been unable to secure the lease of the Whitehall Theatre, Rix took his company on tour in Chase Me, Comrade and Bang, Bang Beirut (later retitled Stand By Your Bedouin), by Cooney and Hilton.Smith, p. 96 Later productions by the Rix company at the Garrick Theatre and elsewhere included Uproar in the House  , by Anthony Marriott and Alistair Foot (1967) ; Let Sleeping Wives Lie  by Harold Brooke and Kay Bannerman (1967) ; She's Done It Again  , by Michael Pertwee (1969) ; Don't Just Lie There, Say Something (Pertwee, 1971); and A Bit Between the Teeth (Pertwee, 1974). According to Leslie Smith in a study of modern British farce, although some of the Rix productions after Chase Me, Comrade achieved substantial success, none of them had the conspicuously long runs of the five Whitehall farces.Smith, pp. 97–98 In 1976  Rix returned to the Whitehall with Fringe Benefits (Churchill and Cooney) which ran until 1977 when he retired from the stage.
Although the five plays constituting the Whitehall farces had long runs and the theatres usually had full houses, the majority of London critics were dismissive of them. Writing in the Financial Times in 1980, Michael Coveney commented: "A tradition of critical snobbery has grown up around these plays, partly because they were so blatantly popular but chiefly because of our conviction that farce, unless written by a Frenchman, is an inferior theatrical species. Once the National Theatre has done its duty by Priestley and Rattigan and others teetering on the brink of theatrical respectability I suggest they employ Mr. Rix … to investigate the ignored riches of English farce between Travers and Ayckbourn."Coveney, Michael. "Simple Spymen", Financial Times, 11 August 1980, p. 9 Some London critics of the 1950s and 1960s did not disregard them, including Harold Hobson, Ronald Bryden, J. W. Lambert and Alan Dent.Smith, p. 70 In 1966, having been unable to secure the lease of the Whitehall Theatre, Rix took his company on tour in Chase Me, Comrade and Bang, Bang Beirut (later retitled Stand By Your Bedouin), by Cooney and Hilton.Smith, p. 96 Later productions by the Rix company at the Garrick Theatre and elsewhere included Uproar in the House (1967) , by Anthony Marriott and Alistair Foot ; Let Sleeping Wives Lie (also 1967) by Harold Brooke and Kay Bannerman ; She's Done It Again (1969) , by Michael Pertwee ; Don't Just Lie There, Say Something (Pertwee, 1971); and A Bit Between the Teeth (Pertwee, 1974). According to Leslie Smith in a study of modern British farce, although some of the Rix productions after Chase Me, Comrade achieved substantial success, none of them had the conspicuously long runs of the five Whitehall farces.Smith, pp. 97–98 In 1976 , Rix returned to the Whitehall with Fringe Benefits (Churchill and Cooney) which ran until 1977 when he retired from the stage.
A
constituting the Whitehall farces
R
packed houses, most
the theatres usually had full houses, the majority of
D
snobbishly
R
Looking back in
Writing in the Financial Times in
R
wrote of the Whitehall farces,
commented:
D
The
R
The few
Some
R
who did not take a lofty view included
did not disregard them, including
A
(1967)
D
(1967)
A
(also 1967)
D
(1967)
A
(1969)
D
(1969)
A
,