Writer: John Cleese
Director: Caroline Jay Ranger
John Cleese and Connie Booth created the original series of Fawlty Towers between 1975 and 1979, inspired by an actual hotel keeper Cleese had encountered when staying with the Monty Python team on location. The monstrous, frantic misanthrope, Basil, and his dragon of a wife, Sybil, together with Manuel, the hapless, put-upon Spanish waiter, became beloved characters as the backbone of a hugely successful, universally acclaimed programme. Unlike many situation comedies, Fawlty Towers was careful not to outstay its welcome, with only two short series, comprising a total of twelve episodes. Its devotees are legion, with an enduring fanbase even fifty years later.
Cleese adapted three iconic episodes, The Hotel Inspectors, The Germans and Communication Problems, into a stage play that premiered in Australia in 2016, only opening in the West End in 2024. Adapting beloved TV series into stage plays is fraught with difficulty. This is particularly so for situation comedies, written as they are in neat half-hour segments, often with little ongoing story between episodes. Building these into a full evening’s entertainment, with a satisfying narrative arc, is a significant challenge. The alternative is to merely string a few episodes together, almost like an onstage mini-series. This production takes a middle course, partly sequential but mixing threads of the episodes together, aiming to build to a suitably chaotic conclusion.
Ultimately, this is only partly successful. The burden of retaining key lines, cherished characters and revered set-pieces, undoubtedly funny though they are, impacts on the pacing and puts a strain on the narrative that prevents its building to a fully satisfactory climax.
The other dilemma, where the characters are as iconic as these, is whether to present new interpretations or to aim for the closest possible facsimile of the original performances. Probably rightly, this production takes the latter course and is well-served by an excellent cast. Striding loftily across the whole production, both literally and figuratively, Danny Bayne’s Basil is a terrific creation. He knows it is not enough merely to give a note-perfect imitation of Cleese’s unforgettable portrayal; he also brings a finely tuned comic sense and immaculate timing. Hemi Yeroham’s Manuel is similarly accurate and appealing. Mia Austen generally delivers a good portrayal of Sybil, notably capturing the signature braying laugh, though she does not have a great deal to do. Joanne Clifton solidly presents the calm centre as Polly.
Amongst the supporting characters, Jemma Churchill is notable for her splendid evocation of the ghastly Mrs Richards, refusing to turn on her hearing aid for fear of draining the batteries. At this performance, Neil Stewart filled in very effectively for an absent Paul Nicholas as the befuddled Major.
It should also be said that Liz Ascroft’s set and costume design perfectly conjure the look and feel of the TV series.
The evening may not make a fully effective whole, but it has many excellent parts. It presents numerous genuinely comic moments and seemingly fulfils the wishes of a large proportion of the audience with its recreation of many of their favourite moments.
Runs until Saturday 7 February 2026, before continuing on tour
