JADAR

★★★★☆

Basil Fawlty is back and as barmy as ever in this new adaptation of the sitcom classic, but does the material still hold up to modern audiences or is it purely fuelled by nostalgia?

First airing on BBC Two in 1975, Fawlty Towers ran for two six-episode seasons, featuring a variety of absurd yet well-foreshadowed miscommunications, a slew of short-tempered shenanigans, and a colourful cast of crazy characters. Written by John Cleese (Mr. Fawlty himself) and Connie Booth, the show was inspired by Cleese’s bizarre stay in the Gleneagles Hotel after he was hounded by a rude and eccentric manager.

John Cleese (who was interestingly down the road at the Albert Hall the same night as press night) returns to the project, adapting his work for the stage, with Danny Bayne taking up the mantle of the loveably pessimistic and slightly deranged Basil Fawlty.

The play draws from the pre-existing episodes: ‘The Hotel Inspectors’ (E4), ‘The Germans’ (E6), and ‘Communication Problems’ (E7), neatly blending the stories into one cohesive plot.

Hotel manager Basil Fawlty (Danny Bayne) becomes obsessed with the hotel guests, believing Mr Hutchinson (Greg Haiste) or Mr Walt (Adam Elliott) to be an undercover inspector. Simultaneously, the hard-of-hearing Mrs Richards (Jemma Churchill) causes chaos after her money goes missing at the same time Basil’s horseracing bet pays off, leaving Manuel (Hemi Yeroham), the Major (Paul Nicolas), and Polly (Joanne Clifton) to cover his lies… What could go wrong?!… To top it all off, after his wife Sybil (Mia Austen) goes to the hospital to remove an ingrown toenail, Basil gets injured just as some German guests arrive on fire drill day… let’s hope he doesn’t mention the war.

The story isn’t particularly inventive or new, refusing to venture from its source material (practically becoming an on-stage re-enactment). Admittedly, it would have been refreshing to see a new storyline resurrecting familiar gags and referencing old episodes, but it’s a fun take on the TV to theatre adaptation none-the-less. It’s an amusing tale sure to tickle newcomers and old-fans alike. It craftily summarises the chaotic world of Fawlty Towers, delving straight into the madness and creating endearing bonds with its madcap cast.

Danny Bayne’s Basil Fawlty is a show stealer, balancing between respectful homages to Cleese’s deranged character, while bringing his own outlandish energy to the role. His dynamic physicality, exasperated responses, wild-eyed, toe-curling screams, cuttingly dry jabs, and hilarious facial expressions are nothing short of spectacular. The character is an incredible blend of satire and slapstick comedy, particularly shining in his interactions with other insane characters, particularly the deaf Mrs. Richards, his witty wife Sybil, the forgetful Major, and Barcelonan waiter Manuel.

Hemi Yeroham’s Manuel is endearingly innocent, constantly misinterpreting phrases with a bewildered smirk and whole-hearted attempts of satiating Basil (often ending in eye pokes and spoon bonks). Fawlty’s giant illustrated flashcards to communicate with him definitely caught me off guard! Joanne Clifton is equally bubbly and innocent, yet delectably sassy as Polly, holding her own against the crazed guests.

I was initially a little apprehensive of the show’s comedy, expecting it to feel a little antiquated or clunky to a modern-day audience. However, I was fairly surprised at how well it held up (for the most part). Despite an awkward Hitler joke outstaying its welcome, the majority of the show feels light-hearted and inoffensive, making light of outlandish situations and oddball characters. It’s also fairly accessible to newcomers- there’s no need for prior knowledge to enjoy it (although I’m sure it’s more amusing if you do)!

Liz Ascroft’s set and costume designs bring the show to life, intricately replicating each detail and corner stone of the famous hotel and its inhabitants. The flamboyant green wallpaper, giant Moosehead and retro décor make a return, while the reception, dining room, staircase and upstairs bedroom are crammed into one fascinating space. And the show wouldn’t be complete without the infamous changing anagram sign, (‘Fawlty Towers’ becoming ‘Fatty Owls’ by act two in a surprising little homage.

It’s certainly not fawlt-less, but there is something for everyone to enjoy between its charismatic characters, a plethora of silly shenanigans, and a healthy dose of nostalgia. With a touch of fresh content and a little refinement, the show could really flourish as a stand-alone instalment rather than a quirky reenactment.

Fawlty Towers – The Play runs at Opera House Manchester until November 9 2025 and tours the UK until July 25 2026.