Fawlty Towers - The Play

The Alexandra Theatre

Birmingham

Bringing something as fiercely loved as Fawlty Towers onto the stage is always going to be a bold move. It’s not just a comedy, it’s one of those rare shows that people can quote word for word, where characters feel almost untouchable because they’re so firmly embedded in the public imagination. So walking into the Alexandra Theatre, there was definitely a sense of curiosity mixed with caution. Could it really work live? Or would it feel like an impression stretched too far?

The short answer is…it works, and when it works, it really works!

From the outset, the production makes a very deliberate choice. It doesn’t try to modernise the material or reinterpret it in any significant way. Instead, it embraces exactly what audiences remember and love. The script, adapted by John Cleese, pulls together some of the most recognisable moments and episodes and reshapes them into a continuous stage narrative. What you get is something that feels both familiar and newly energised by the live setting.

At the centre of everything is Danny Bayne as Basil Fawlty, and there’s no avoiding the fact that this is the role that makes or breaks the entire production. It’s such a distinctive performance in its original form that even the slightest misstep would stand out. But Bayne doesn’t simply imitate, he captures the spirit of Basil in a way that feels instinctive. What’s particularly impressive is his control. Basil is a character who exists permanently on the edge of losing control, and Bayne rides that line brilliantly. The nervous energy, the sudden explosions of anger, the frantic attempts to recover situations that are already far beyond saving; it’s all there. Physically, it’s an exhausting performance just to watch. He barely stops moving, constantly reacting, pacing, snapping, or scrambling to keep up with the chaos he’s usually responsible for creating. And crucially, the timing is spot on. The humour in Fawlty Towers lives and dies by timing, and Bayne understands exactly when to push a moment and when to let it breathe. Some of the biggest laughs come not from what he says, but from how long he waits before saying it.

Joanne Clifton’s Polly is a really strong counterbalance to all of this. In a show filled with heightened characters and escalating madness, Polly has to remain grounded and Clifton does this with a natural ease that never feels forced. She brings a quiet intelligence to the role, always appearing one step ahead of everyone else, even when she’s caught up in the chaos. There’s also a warmth to her performance that adds something important to the overall dynamic. Polly isn’t just there to move the plot along; she becomes someone the audience can latch onto amidst the madness. Clifton plays this subtly, never overreaching, but consistently present and effective.

Paul Nicholas as The Major adds another layer of comedy, one that’s gentler but no less effective. His performance leans into the character’s old-fashioned outlook and slightly detached perspective, allowing the humour to come through in a more understated way. It’s a nice contrast to the more frantic elements of the show, and Nicholas handles it with a light touch that keeps it from feeling exaggerated.

The wider cast contribute significantly to the rhythm of the piece, particularly in the more chaotic sequences where multiple storylines collide. Manuel, of course, is a key part of that chaos, and his interactions with Basil remain some of the funniest moments in the show. The misunderstandings, the language barriers, the sheer frustration; it all lands exactly as it should, and the audience response reflects that.

One of the most enjoyable aspects of the production is seeing how well the material lends itself to the stage. The farce at the heart of Fawlty Towers is inherently theatrical. Doors slamming, people narrowly missing each other, conversations overlapping, these are all elements that thrive in a live environment.

The set design plays a big role in making this work. The hotel interior is instantly recognisable, but it’s also been designed with movement in mind. There’s a constant flow of action, with characters entering and exiting at speed, often just missing each other by seconds. This creates a sense of controlled chaos that builds as the play progresses.

In the first half, there’s a slight sense of the production finding its feet. The audience is clearly enjoying it, but there’s also an element of anticipation; people waiting for the bigger, more familiar moments to arrive. It’s in the second half that everything really clicks into place. The pace picks up noticeably, and the farce becomes more intricate. Situations start to overlap, misunderstandings multiply, and the energy ramps up to a point where it feels almost relentless. This is where the production is at its strongest, fully embracing the madness and allowing it to spiral in the best possible way.

What stands out here is the precision. For something that appears so chaotic, it’s incredibly tightly controlled. Every entrance, every pause, every reaction has clearly been carefully rehearsed. The cast move around each other with exact timing, creating sequences that feel spontaneous but are clearly anything but.

Of course, one of the biggest questions hanging over the production is whether it offers anything new. The honest answer is: not really. This is very much a celebration of what already exists rather than an attempt to reinterpret it.

For some, that might be a drawback. If you’re looking for a fresh take or a deeper exploration of the characters, you won’t find it here. But at the same time, that doesn’t feel like the aim. This production knows exactly what it is and who it’s for. And judging by the audience reaction, that clarity works in its favour.

There’s something uniquely enjoyable about watching a comedy like this in a packed theatre. The laughter builds collectively, feeding off itself. Moments that might raise a smile on screen become genuinely laugh-out-loud when shared with a room full of people. You can feel the anticipation when a well-known scene is approaching, and the payoff is all the stronger for it. It’s also worth acknowledging that some aspects of the humour reflect the time in which the original series was created. Certain jokes and attitudes sit slightly differently with a modern audience, and there are moments where you can sense a shift in how they’re received. However, the production doesn’t attempt to heavily alter or soften these elements, it presents them as they are, trusting the audience to take them in context.

By the final stretch, the production has built up a strong momentum. Everything starts to come together in a way that feels satisfyingly chaotic, with multiple threads converging into a full-scale comedic collapse. It’s loud, fast, and deliberately over the top, but that’s exactly what it needs to be.

When the curtain comes down, the reaction is immediate and enthusiastic. It’s clear that the audience has had a genuinely good time, and that sense of enjoyment lingers as people leave the theatre. What this production ultimately does is remind you why Fawlty Towers has endured for so long. The writing is sharp, the characters are instantly recognisable, and the structure of the comedy is incredibly well crafted. Seeing it performed live adds a new dimension, not because it changes the material, but because it amplifies it.

This isn’t a show that tries to surprise you. Instead, it delivers exactly what you expect, but with enough energy, precision, and commitment to make it feel worthwhile.

Danny Bayne carries a huge responsibility in the central role, and he rises to it with confidence and consistency. Joanne Clifton and Paul Nicholas provide strong support, helping to ground and shape the production around the central chaos. Together with a well-drilled ensemble, they create something that feels cohesive, lively, and, most importantly, funny. In the end, that’s what matters most. This is a comedy that aims to make people laugh, and it succeeds. It may not redefine the original, and it doesn’t attempt to, but it brings it to life in a way that feels immediate and engaging. For those who already love Fawlty Towers, it’s a chance to experience it in a new setting. For others, it’s an introduction delivered with clarity and confidence. Either way, it’s an evening built on strong performances, careful timing, and a clear understanding of what makes the material work. And sometimes, that’s exactly what you want from a night at the theatre.

Fawlty Towers is currently at The Alexandra Theatre, Birmingham until Saturday 21st March 2026.

A ⭐️⭐️⭐️⭐️⭐️hotel performance!