Fawlty Towers: the Play review

In fairness, the amalgamation of these familiar plot lines is pretty seamless, although it lacks a strong narrative arc. There are many hugely entertaining, well-known exchanges, but it doesn’t really add up to a fully formed play. The interval arrives with no carefully constructed crescendo of farce, simply a fade out. Similarly, the finale, despite wonderfully choreographed physical comedy, blacks out with no particular resolution.

The piece relies and succeeds on nostalgia; there’s no attempt to update the period or setting, and Liz Ascroft’s design is a meticulous blend of the original BBC sets, with the office, reception and dining room slotted together as artfully as Cleese’s composite script. Ranger’s fluid, precise direction ensures that both the physical and verbal gags land perfectly and while there may be no surprises, the performances are a triumph.

Adam Jackson-Smith is a wiry, borderline neurotic Basil, who captures all the physical ticks and mannerisms associated with Cleese in the role, but still makes it very much his own. His bickering with Sybil (a garrulous, coiffured Anna-Jane Casey) is a constant undercurrent, while his shortness with the guests seems even more shocking in this age of customer service. As secondary characters, Hemi Yeroham as the Spanish waiter Manuel and Victoria Fox as chambermaid Polly acquit themselves well in underwritten roles, whereas Paul Nicholas lends a grizzled suavity to the dotty old Major that is oddly poignant. 

Ultimately, Cleese’s adaptation brings nothing fresh to the table. It’s strictly for the fans, who will undoubtedly embrace the opportunity to share this new live experience of an old favourite.