There’s no shortage of classic sitcoms in British TV history, and lately we’ve seen a few, from Only Fools and Horses to Drop The Dead Donkey, adapted for the stage. Taking to the West End’s Apollo Theatre, it’s the turn of Fawlty Towers The Play, with original creators, John Cleese penning this stage version with Connie Booth as co-writer.
It usually surprises people to find out that there were only ever twelve episodes of Fawlty Towers made. Frequent re-runs and a genuine fondness for the original means it constantly rates as one of the best sitcoms ever made.
Fawlty Towers The Play is not a new story. It’s a near word for word replica of three episodes blended together to cover two days at the infamous guest house. Fans of the original will recognise the hotel inspector storyline, the hard of hearing Mrs Richards (Rachel Izen), and the German guests who inspired one of the best known catchphrases in comedy.
There are also the fan favourite recurring characters too, such as The Major (Paul Nicholas) and Miss Tibbs and Miss Gatsby (Kate Russell-Smith and Nicola Sanderson respectively).
The result is spectacularly funny. This cleverly written farce has mostly stood the test of time and the enthusiastic slapstick remains just as hilarious as it was, maybe even more so. Director, Caroline Jay Ranger has kept the spirit of Fawlty Towers in every aspect of the production.
Fawlty Towers in 2024 faces the same problems as other sitcoms of the era. Some of the comedy that delighted viewers in the 1970’s is no longer appropriate. This stage production tones it down a lot, and many of the more dated references don’t appear. While many would have preferred the ‘don’t mention the war’ scenes, or the ridiculing of a Spanish waiter didn’t appear at all, they are such a well-known part of Fawlty Towers their omission would have been glaringly obvious.
Other less favourable aspects are toned down too. Manuel is hit with only a spoon, as opposed to the frying pan that was used in the original, and Basil’s descriptions of Sybil, while unflattering, don’t sound quite as harsh.
Speaking of the waiter, Hemi Yeroham is a delight as Manuel, rhyming off the catchphrases with perfect comic timing. Indeed the entire principal cast are wonderful. They are all playing as close to the original TV characters as possible, and while that often doesn’t work, here it’s a triumph of casting. Victoria Fox has the mannerisms of Polly down to a tee, and Anna-Jane Casey thrills the audience with both the look and sound of the character.
It is Adam Jackson-Smith as Basil who steals the show. It’s almost impossible to distinguish between Cleese’s Fawlty and Jackson-Smiths; the physical movements, sneering comments and farcical temper tantrums are superb. Basil Fawlty has returned, and he’s funnier than ever.
The faithfulness to the TV series also extends to Liz Ascroft’s set and costume design. The Torquay guesthouse is recreated down to even the smallest detail, and even the sign gets vandalised during the interval.
Fawlty Towers remains popular today as a beloved sitcom but people questioned whether it would be a success on stage (me included). By threading together much loved and well remembered scenes, while at the same time toning down, or ultimately removing, some of the dated aspects Fawlty Towers The Play reminds us that farce works best on the stage, and this is some of the finest farce ever written.
