Of course I don’t need to remind you of the high esteem in which Fawlty Towers is held not only by the international comedy loving public but also by comedic contemporaries and comedians of today. It is the one. The first and the best. Bar none. End of. Its first script was once described by an early producer as “a collection of cliches and stock characters which I can’t see being anything but a disaster.” Unlike John Cleese, Prunella Scales, Andrew Sachs and Connie Booth that producer’s name has been consigned to history.
We watch the show over and over, without tiring, in abject horror and disbelief as Basil commits the same acts of frustrated stupidity taking his indignation to dizzying heights transcending taboo after taboo. It’s a glorious fusion of British stiff-upper-lipped suppression coupled with eruptions of vibrant angst, anguish and anger. We all secretly think, “I wish I could do that.” Fawlty screams like we all we wish we could. But if this gem of comedic brilliance is such a perfectly rendered piece of television wonder why recreate it on stage? Why remake it when it can be downloaded in all its glory? Good question.
This stage adaptation has delighted the West End and is now goose-stepping to the Wolverhampton Grand on a wet February night to delight us. Does it? Well yes and no. Some new bits sprightly keep us interested, some old bits pale, other old bits hit bullseye after bullseye. Where once Cleese was operatically vituperative, Danny Bayne is more muted, but when he blows he blows. Mia Austen as Sybil gives more than ample support and nails the hideous gorgan-like laughter of Prunella Scales, Joanne Clifton offers a vocally pitch-perfect rendition of Polly but, of course, our sympathy lies with Manuel ably played here by Hemi Yeroham whose line “I know nothing!” gets a well deserved round of applause. Jemma Churchill as the deaf Mrs Richard is excellent and heads a very good (and large) supporting cast.
Welding three half hours together to provide a satisfying evening is no mean feat and Cleese almost pulls it off, though some of the writing relies too heavily on recognition, familiarity and catch-phrases but simultaneously resolving the plots of The Hotel Inspectors, The Germans and Mrs Richards is quite a virtuoso piece of structuring and deftly demonstrates Cleese capacity for understanding comedy and why he is held in such high affection and drew such a large crowd. We’re given a delightful cocktail of our favourite bits, our favourite phrases making of smorgasbord of cosy, reliable humour.
Fawlty Towers continues at the Wolverhampton Grand until 14th February, https://www.grandtheatre.co.uk/
Reviewer: Peter Kinnock
Reviewed: 10th February 2026
North West End UK Rating: