Review of ‘Fawlty Towers’ (2025 West End): “New London cast charms but doesn’t captivate by going too strictly by the manuel”

The stage adaptation of John Cleese’s comedy classic returns to the West End for a limited run amidst its UK and Ireland tour. Guillermo Nazara shares his views on the show — to let us know if the hype about it is just too much buttering on its tray.

Well, I knoooooooooooooooooow how many of you were eagerly waiting for the return of John Cleese’s latest theatrical triumph. And why wouldn’t you? Its initial incursion into the West End proved to be an utmost success that didn’t come without justification. If you enjoyed the television show, you’ll love revisiting the most iconic moments that secured its position as a comedy classic across the decades. If you hadn’t ventured into its paradise of all-included neurosis, chances are you’ll be booking a second trip to its Torquay anything-but-peaceful resort soon.

And so, that was precisely my case last week, as I made my way back to London’s Apollo Theatre for the gala night of Fawlty Towers, The Play. Being a massive fan of the TV series, which I only discovered after attending its faulty (that’s how they spell it) immersive experience, I admittedly couldn’t hold my excitement about reconnecting with all the surreal situations and characters poor, volatile Basil has to face. A few months before it landed again in London, I had witnessed the original cast bring the old chaos to life with such impeccable dexterity that it almost surpassed the source material. Sadly, though, those memories materialised just partially with the current troupe.

Merging several episodes into a full-length play, the show still preserves the freshness it so vividly poured out of the screen and into our living rooms, bedrooms, or wherever else you choose to watch a video (no questions asked about the purpose). It has everything you could wish for in a farce that wandered unhaunted by the ghosts of today’s smothering PC — absurd, despicably sarcastic, and pulling no punches back when aiming for the laughter it so deservingly earns.

However, the brilliance of the script cannot gleam in full glory if it isn’t channelled by an equally sparkling cast. With several new additions, including a different Basil, the company still does a competent job that, on the whole, is thoroughly amusing. Nonetheless, the sense of spontaneity and flow that their predecessors exuded disappears at several key points of the rendition, preventing some potentially hysterical moments from getting more than a subtle giggle and, consequently, depriving the piece of a slice of its quality.

Many portrayals bear a remarkable resemblance to their television counterparts. Danny Bayne’s version of Basil is a striking mirror image of John Cleese’s interpretation — capturing his voice tone and inflections so immaculately that you’d fall for its deception if you chose to close your eyes. Yet, his act doesn’t flaunt the same comedic stamina and naturalness that Adam Jackson-Smith so excellently encapsulated during the play’s first run. Instead, his delivery occasionally comes across as overcalculated and mechanical, lacking the timing and organic feeling that the script’s brand of humour often requires for its effect.

The opposite issue arises through Helen Delerer’s performance as the insufferably demanding customer Mrs. Richards. Though her driving presence is undeniable, the approach to the personage veers too far away from the nasty, aggressive attitude that Joan Sanderson so excellently depicted back in the 70s. Instead of vile and worthy of being turned into a mouse (and whatever that follows), her approach comes off as too soft and more typical of an absent-minded person than a vile queen of bitterness seeking to complain at the earliest opportunity she gets.

Despite these flaws, the vibe is generally positive anyhow. Besides John Cleese and Connie Booth’s writing craftsmanship, as well as Cleese’s accomplished skills to concoct a cohesive, well-paced narrative onstage, the company boasts a great deal of rapport, chemistry, and commitment, with Paul Nicholas giving the most laudable portrayal in the role of the Mayor. Beyond some intermittent moments of flatness, the troupe regales audiences with an entertaining evening, still oozing the goofy appeal and satirical wit that made the series into an ageless masterwork.

I know nothing about the horse. Yet, I can tell that Fawlty Towers is back in the West End with sufficient robustness. Yet, there’s some extra polish to apply should they wish to regain the glow and genius of its former incarnation. No one should be requesting a deduction. However, we could still be offered a slightly more interesting view without needing the Sydney Opera House, the Hanging Gardens of Babylon, or herds of wildebeests swinging majestically. It’s Torquay, after all.

All pictures credit to Hugo Glendinning.

Fawlty Towers plays at London’s Apollo Theatre until 13 September. Tickets are available on the following link.

By Guillermo Nazara