Fawlty Towers – Bord Gáis Energy Theatre – Review

Dates: 28 July – 01 August 2026
Produced by Phil McIntyre Live Ltd.

Did you know that only twelve episodes of Fawlty Towers were ever made? The series consisted of just two seasons, each comprising six episodes, broadcast in 1975 and 1979. Despite its remarkably short run, it has become one of the defining British sitcoms of all time. Its influence on comedy is difficult to overstate, and even today people of a certain age can scarcely hear the words “don’t mention the war” without immediately thinking of Basil Fawlty’s infamous attempt at diplomacy.

The series centred on the permanently stressed hotel owner Basil Fawlty (John Cleese), his formidable wife Sybil (Prunella Scales), the capable chambermaid Polly (Connie Booth), and the hapless Spanish waiter Manuel. Written by John Cleese and Connie Booth, the sitcom blended sharp dialogue with escalating chaos and farce. This stage adaptation, also adapted by Cleese himself, remains remarkably faithful to the source material. Fans can expect familiar guests to check into the famous Torquay hotel, including some German visitors!

The production features a sizeable ensemble, with many of the show’s best-loved characters brought back to life. Danny Bayne captures Basil’s gangly physicality and manic energy with impressive accuracy, bearing a strong resemblance to a young John Cleese. Paul Nicholas, who many will remember from the 1980s sitcom Just Good Friends, is cast as the ageing Major, milking the character’s absent-minded ramblings for plenty of laughs. Strictly Come Dancing favourite Joanne Clifton also impresses as Polly, combining warmth and intelligence in a role that often serves as the voice of reason amid the mayhem. Together, the 18-member cast successfully recreates the bustling atmosphere of Fawlty Towers.

The set is an impressive recreation of the television original. The hotel’s reception area occupies one side of the stage, while the dining room sits alongside it, allowing the action to flow seamlessly between the two spaces. Above it all sits a rarely used guest bedroom which is incorporated into several scenes.

The play skilfully stitches together moments and plotlines from several of the sitcom’s most beloved episodes. Misunderstandings pile upon misunderstandings, doors slam, tempers flare and carefully constructed lies collapse in spectacular fashion. Those looking for a fresh interpretation may find little that surprises them, but audiences who loved the television series will relish seeing these iconic moments recreated live on stage.

Watching the play also serves as a reminder of how much comedy has evolved over the past fifty years. Some of the jokes and attitudes that passed without comment in the 1970s inevitably feel dated today, and the production makes little attempt to modernise them. Instead, it presents the material largely as it was, allowing audiences to appreciate it as a product of its time while recognising how social attitudes have shifted.

It would be fascinating to know how younger audiences, with little or no connection to the original series, respond to this production. Opening night at the Bord Gáis attracted a crowd that clearly knew the material inside out, with laughter often beginning in anticipation as favourite lines and familiar routines approached. This is less a reinvention than a nostalgic reunion with one of British television’s greatest comedies. It lovingly celebrates a sitcom whose influence continues to be felt decades later. The cast’s commitment, precision and enthusiasm ensure that the spirit of the original survives the transition from screen to stage.