Fawlty Towers: The Play – Leeds Grand Theatre

Writers: John Cleese and Connie Booth

Director: Caroline Jay Ranger

Following a sold out West End run, Fawlty Towers: The Play continues a UK tour. What can you expect? Herds of wildebeests sweeping majestically across the plains? Sydney Opera House perhaps?

Adapted for the stage by none other than John Cleese himself, the plot follows three fan-favourite episodes – The Hotel Inspector, Communication Problems and The Germans – and cleverly ties them together in an explosive finale.

If you’re new to the fifty-year-old sitcom, check in at the dilapidated Fawlty Towers on the English Riviera. Surly hotelier Basil Fawlty isn’t cut out for hospitality. Not a people person, his fuse wears thin with guests, his nagging wife and inept waiter Manuel. Danny Bayne perfectly captures Basil’s mannerisms and exasperated frustration. His physicality is first rate, and the much anticipated interaction with the German guests is a triumph. Overbearing wife Sybil (Mia Austen) nails her famous cackle and, if you close your eyes, you could be listening to the late Prunella Scales.

Manuel (from Barcelona) may know nothing, but Hemi Yeroham knows how to get the laughs and milk the famous lines. Often on the receiving end of a slap or poke, slapstick and fight direction by Kate Waters is tight and well-choreographed. Perhaps best known for winning Strictly Come Dancing, Joanne Clifton brings a warmth and understated grace to Polly. She has perfected the unusual accent, with the TV character – Cleese’s former wife Connie Booth – American playing English.

Jemma Churchill embodies the cantankerous old Mrs Richards, and her performance doesn’t fall on deaf ears. Special mention to Mr Walt (Adam Elliott) and Mr Hutchinson (Greg Haiste) for making more of characters that could easily be forgotten. Hutchinson’s exuberance is like a red rag to Basil’s bull (or should that be moose?) and it’s a delightful dynamic.

At this performance, Major was played by understudy Neil Stewart. Suitably bumbling and another solid soundalike, it’s reassuring that some of his less politically correct lines don’t make the cut.  On that note, the 14+ age rating ensures that young minds aren’t subjected to the jokes that haven’t aged so well. Yes humour is often dated and the stereotypes are intact. Mention the war? They did, but I think they got away with it.

Liz Ashcroft’s set design perfectly replicates the aging Torquay hotel. Split over multiple levels, the action flits between the front desk, dining room and a guest bedroom. Ashcroft’s costumes fit the bill too, from Sybil’s towering wig to Basil’s garish cardigans and threadbare vest. Rory Madden’s sound design sets the scene with the iconic theme song, and effects including a fire bell and burglar alarm (one a semitone higher!)

It could be argued that Fawlty Towers on stage doesn’t add a lot, it doesn’t especially innovate. This reviewer has experienced an interactive Fawlty Towers hotel event as a guest at the mercy of the staff, which was decidedly more immersive. There is no interaction here though; the fourth wall is never broken and it all feels quite safe. Whilst you could sit at home and pop the box set on though, it’s endearing about seeing it brought to life live. There’s no doubt the cast give it their all, and every performance in the 18-strong cast is fawlt-less.

Germans. Fire drills. Illicit horseracing bets. It’s all here, and all delivered to a West End standard. A love letter to a golden age of comedy.

Runs until 10 January 2026