Nearly half a century since Basil Fawlty first barked at guests in his shambolic Torquay hotel, Fawlty Towers has been reimagined for the stage- with John Cleese’s blessing and script. The new adaptation, directed by Caroline Jay Ranger, stitches together three of the sitcom’s most iconic episodes (The Hotel Inspectors, The Germans, and Communication Problems) into a brisk two-hour farce. Following a successful West End run, the production is now touring the UK, bringing its brand of vintage chaos to the Manchester Opera House. With Danny Bayne stepping into Cleese’s formidable shoes as Basil and Joanne Clifton as the ever-capable Polly, the show aims to rekindle the anarchic charm of the original while navigating the tricky terrain of nostalgia and modern Britain. 

There’s a certain risk in reviving a cultural institution like Fawlty Towers. The original series, with its razor-sharp timing and combustible energy, is etched into the national psyche. This stage version doesn’t attempt reinvention- it’s a loving facsimile. 

What truly elevates this production is its meticulous attention to tone and detail. Liz Ascroft’s set design deserves special mention: the hotel lobby is rendered with loving detail, from the faux-wood panelling to the period telephones and signage, evoking the 1970s with just the right amount of kitsch. It’s a space that feels lived-in and instantly recognisable, allowing the audience to settle into the world of Fawlty Towers before the first bars of the iconic theme-tune even land.  

Bayne’s Basil isn’t a complete carbon copy of Cleese’s iconic portrayal, but instead channels the character’s incendiary comic prowess with a fresh physicality and a twitchy, simmering impatience that feels somewhat authentic rather than wholly imitative. Clifton’s Polly is a quiet triumph- her calm competence and dry wit provide a much-needed counterbalance to the surrounding chaos, and she navigates the farce with a dancer’s precision. The ensemble cast, too, lean into the absurdity with comic timing and physical flair, particularly in the riotous, if somewhat problematic, ‘Germans’ sequence.  

The aforementioned scene’s reliance on national stereotypes and Basil’s repeated “Don’t mention the war” refrain- once a satire of British awkwardness- now risks landing as insensitive in a post-Brexit, post-pandemic Britain more attuned to cultural nuance. The audience laughs heartily, but not without a ripple of discomfort. It’s a reminder that comedy ages unevenly, and what once felt subversive can now feel out of step. The production makes no attempt to reframe or interrogate these moments, which may leave some viewers wishing for a touch more self-awareness. Furthermore, the episodic structure sometimes feels more like a greatest hits compilation than a cohesive theatrical narrative. It begs the question- was this a wasted opportunity to breathe new life into a classic? To live out some new experiences with these beloved characters? After all, the original sitcom is readily available from the comfort of your living room, so what’s the draw to venture to the theatre to see exactly that played out on stage? 

That said, it’s a remarkably faithful farce that mostly delivers. This is not a radical reinterpretation, nor does it try to be; it’s a tribute that’s extremely well-performed. For fans of the original, it’s a warm wave of nostalgia. For newcomers, it’s a short stay in a bygone era of British comedy- warts and all. 

Fawlty Towers plays at Manchester’s Opera House until Saturday 8th November. Further information and booking details can be found here.

Tickets received in exchange for an honest review. #AD

Photography courtesy of the production.