★★★

“not without its faults, but ‘Faulty Towers’ is good, solid fun”

The atmosphere is somewhat subdued, with the feel of an airport lounge area. There is a long line to the bar at which the service is inefficient enough to ensure the queue is growing rather than shrinking. Consequently, there’s a bit of a delay. This is of no concern, however, to Basil Fawlty, who bursts into the room to herd us into the dining room next door, all the while insulting us, alternating his deliciously barbed insults between the guests and his long-suffering waiter, Manuel. Sybil is on hand to a) placate us and b) to antagonise Basil further still. “Come on, I’m trying to run a hotel here” squeals Basil. “Have you any idea of how much there is to do? Do you ever think of that? Of course not…” As we take our seats, we are all secretly hoping, at some point, to be the target of Basil’s abuse. The odds are low, however; there are simply too many diners in the rather spacious, refectory styled function room. The décor is bland, offering no clue whatsoever that we could be down in Torquay nor any concession to the decade that ‘Fawlty Towers’ was originally set.

The sheer numbers, though, are testament to the success of the show (if one can call it a show) that has been dished up in London for over a dozen years now. Even if they don’t recreate the ambience, the chaotic spirit is captured. It is an unofficial tribute to the television series – hence the use of ‘Faulty’ rather than ‘Fawlty’ – which mixes improvised audience interaction with scripted snippets from some of the most recognised and iconic episodes. The sketches are rather random, with no through line to link them. Those unfamiliar with John Cleese and Connie Booth’s original might be a touch perplexed; but I doubt that it’s ever an issue. On that note, Polly (Booth’s character in the sitcom) is conspicuously absent. The evening is managed by the trio alone. Although they have little competence in running a restaurant, they are masters of character acting. Lawrence Watling adopts Basil’s mannerisms and maladroitness with easy skill. Not as gangly as Cleese, he still has the physical elasticity required (even pulling off the now suspect Germanic goose-step episode) and the vocal tics. Nerine Skinner has Sybil’s conversational tone down to a tee, while Leigh Kelly’s Manuel ricochets between the tables in a constant state of confusion. It is only when he (infrequently) gets up close to you that you can see the precision of his impersonation.

Then again, the evening isn’t about subtlety. It’s basically about having a good time – which is what everyone is having. And it certainly isn’t about the food either. Admittedly Basil’s hotel wasn’t renowned for it, but the fare on offer is far removed from any definition of ‘haute cuisine’. And not a whiff of ‘Waldorf Salad’. A missed trick, perhaps? Sometimes it seems that the evening isn’t really about the show. Spotting the characters is occasionally like looking for a particular elusive guest across a crowded room. And before dessert is unceremoniously plonked down on our tables, our hosts have taken their bows and left. We are left a little in the lurch. But looking around at my companions, the room is filled with satisfied smiles. It is a healthy cross section of humanity, but you can spot the die-hard ‘Fawlty’ fans. Yet there is a diversity that pays homage to the far-reaching appeal of ‘Fawlty Towers’ with its iconic, iconoclastic British humour.

It is not without its faults, but ‘Faulty Towers’ is good, solid fun. As Sybil explains when the ‘fresh’ soup on the menu looks as though it’s running out; “chef can always open another tin”. This dining experience does exactly what it says on the tin. The contents are spread a little too thin, however. On a smaller scale we’d definitely get more of the flavour. A touch too much soda and not enough Scotch. But with Basil Fawlty in charge, there’s absolutely no point complaining. Just enjoy it… and with that attitude you will.

STILETTO

Charing Cross Theatre

★★★★

“a luscious musical that intrigues and teases with, rather than pulls, our heartstring”

The first thing you notice about the new musical, “Stiletto”, is the opulence of Ceci Calf’s set. Dimly lit in the pre-show, it depicts not so much a Venetian palazzo but something more subterranean. You almost expect ripples of light, cast from the canal waters, to dapple from above. It is moody, portentous and atmospheric. The musical itself follows suit. Consistently soul-stirring, grandiose and lush, it looks and sounds exceptional. A balcony circles the stage behind its proscenium arch, like a minstrel’s gallery. In the shadows we can make out the silhouettes of the fifteen-piece orchestra. A cast of seventeen grace the stage, yet Chris Baldock’s musical staging never makes it appear crowded. From the opening dramatic bars of music, we know we are in for something grand. There is a danger that the show might take itself too seriously. A feeling, however, which soon dissipates under David Gilmore’s pacey and fresh direction.

We are in Venice in the early part of the eighteenth century. Marco Borroni (Jack Chambers) is on the cusp of stardom. He is a ‘castrato’, which means he was castrated before puberty to preserve his soprano voice. Apparently, the process not only keeps the vocals skills intact, but it also in no way diminishes his pleasure-giving prowess – as his siren-like patron, the Contessa Azurra (Kelly Hampson), seductively points out. Meanwhile Marco meets feisty Gioia (Jewelle Hutchinson), a slave’s daughter, in the market square. His lust is turned into sheer wonder when he hears her sing, and he vows to sweep her up from the gutter into his own impending rise to fame and fortune. Of course, there are snags. In this case an accidental death, an ensuing scapegoat bound for the hangman’s noose (i.e. Gioia – that’s no spoiler by the way), a corrupt judicial system, and the predictable battle between good and bad – the underdog and the powerful. Tim Luscombe’s book follows a formulaic narrative, but there is a quirkiness and modernism to the dialogue, much of which swings effortlessly in time to the musical preludes.

The plot may be a touch thin, but Matthew Wilder’s score is as ripe and succulent as they come. Wilder generously gives each major character a solo moment in the spotlight, but he also allows the full ensemble to shine throughout. This could almost be a sung-through musical and often has that feel – the underscore subtly echoing the songs. Simon Nathan’s orchestrations highlight the variations; from a quiet harp-accompanied ballad through to the full pageantry of sweeping ensemble numbers. There are many musical highlights and just as many performance highlights. Chambers, as Marco, has a natural flair, mixing innocence with passion, carnality with self-righteousness. And a voice to match – particularly when standing alone, closing the first act with a gorgeously delivered ‘The Wanting’, or lamenting the tragic figure of his tutor Faustino (a rich-toned Greg Barnett). Jennie Jacobs stands in as a masked mezzo soprano whenever Marco is called upon to demonstrate the ‘castrato’ voice. Kelly Hampson’s Contessa Azurra is a force to be reckoned with, standing up to her corrupt yet camp husband, Pietro (a wonderful Douglas Hansell). Hampson’s solo number, ‘Amore Mio’ has a bond-theme quality, but with more interesting time signatures and shifts in tone.

There are surprises, too. When Connor Wood, as the mute Niccolo, finds his voice at a crucial moment in the story we are quite taken aback by his singing voice during ‘No Words’; and Sam Barrett’s down-trodden Luigi blossoms as he turns saviour and vocal raconteur extraordinaire with his solo number ‘Go Along’. But the one to watch out for is Jewelle Hutchinson, stealing the show whenever she walks on stage as Gioia. Spirited and ballsy (ironic given her paramour’s deficiency in that department), Hutchinson lets Gioia’s vulnerability cut through as well. And all the while her rich, wide-ranged vocals pierce our hearts.

The performances bring a heightened energy to the stage that befits the setting and the storyline. Cementing the sense of period are Anna Kelsey’s glorious and flamboyant costumes. Passion is the key word for this show. And drama. Sometimes melodrama slips in which, if you’re not paying attention, can hide the flaws in the narrative. It does feel as though a trick or two is missed, and certain themes are underexplored while the finale comes a little too quickly and too forced. That frustration aside, this is a luscious musical that intrigues and teases with, rather than pulls, our heartstrings. Full of light and shade, musically as well as visually, it might not penetrate quite as deeply or cleanly as a stiletto, but it certainly gets under your skin.

FAULTY TOWERS THE DINING EXPERIENCE

President Hotel

★★★

“not without its faults, but ‘Faulty Towers’ is good, solid fun”

FAULTY TOWERS THE DINING EXPERIENCE

President Hotel

Reviewed on 3rd April 2025

by Jonathan Evans

More shows reviewed by Jonathan:

FAULTY TOWERS THE DINING EXPERIENCE

FAULTY TOWERS THE DINING EXPERIENCE

FAULTY TOWERS THE DINING EXPERIENCE

STILETTO

Charing Cross Theatre

★★★★

“a luscious musical that intrigues and teases with, rather than pulls, our heartstring”

STILETTO

Charing Cross Theatre

Reviewed on 31st March 2025

by Jonathan Evans

Photography by Johan Persson

Previously reviewed at this venue:

STILETTO

STILETTO

STILETTO

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