As a lifelong fan of the Fawlty Towers series, I must say that reading this interview with John Cleese was like stepping back into a beloved memory. His recollections of the show’s creation and the cast he worked with are nothing short of captivating. The man has lived an extraordinary life, filled with laughter, creativity, and a knack for finding the perfect cast for each role.
The bungled incidents at an aged Torquay hotel – such as errant moose heads, improperly cut chips, and chaotic fire drills – have become iconic in television history, earning the top spot in a TopMob poll for a favorite sitcom. Now, the zany escapades of Fawlty Towers are drawing capacity crowds in London’s West End, with such strong demand that it is being prepared for a regional tour. RT caught up with John Cleese, aged 85, who has tailored it for the stage.
Cleese shares a key insight from his call in Los Angeles about Fawlty Towers – The Play: “What I’ve discovered is that no one can truly predict success,” he says. “It’s all speculation. For instance, the very first episode of our television series was criticized by the Daily Mirror as ‘Long John, Short on Jokes,’ and The Spectator didn’t care for it!
On the opening night, I was delighted to see Michael Palin and Terry Gilliam attend: “I was overjoyed, they found it charming.” The play, combining three stories (The Hotel Inspectors, The Germans and Communication Problems, along with a hint of another), runs flawlessly. It boasts an intelligent set design, swift pacing, and numerous laugh-out-loud moments. Dennis Wilson’s cozy string-quartet theme tune is frequently played, and you might catch the occasional letter out of place.
It took me right back to appointment-to-view evenings in front of the family television, when we young ones laughed until we hurt, and couldn’t wait to discuss the episode at school the following day. Endlessly quotable, the show famously overran the traditional 30-minute sitcom slot due to its packed plotlines.
The play initially premiered in Australia in 2016 and subsequently opened at London’s Apollo Theatre last May. It has been extended to March of next year, followed by a UK tour. This is happening during its 50th anniversary year. However, it may come as a shock to some that the stage show debuted in Australia before London. And when asked about this, Cleese confirmed, “Indeed, that’s correct.
Since she brought the script from Australia, many doubts were eliminated when she started performing in London because, to begin with, it’s a single script which is quite convenient, and secondly, we had previously performed the show and made any necessary revisions. Therefore, we were working on something that was already thoroughly rehearsed.
It appears the format is quite adaptable; perhaps other episodes can be modified? It seems there are plans in motion. After being deeply impressed by Adam [Jackson-Smith as Basil], I suggested working together on another version. We could potentially remake three other shows, and he’s already proposed a very intriguing idea.
Dick Clement, who wrote Porridge and Likely Lads, said a key aspect of success is finding the right actors for a role. Eric Idle, if asked, would likely concur. For him, discovering someone like Adam was an extraordinary moment. Throughout the casting process, when he observed various performances and made suggestions, the actors quickly grasped his ideas. It’s effortless to work with talented individuals like that.
“When asked about watching a performance of my work, I find it hard for people to understand, but I identify myself more as a writer rather than a performer. Consequently, when someone else performs something I’ve written, it doesn’t take me by surprise because I approach the material from my writer’s perspective.
Before converting the sitcom into a stage play, did he discuss the idea with his first wife Connie Booth, who co-wrote the original series? Yes, we consulted her about it since there were legal issues related to contracts that required her approval. However, she’s not active in showbusiness anymore as she retired long ago and has been a therapist for quite some time now. She prefers a private life, so she’s kept out of the spotlight.
Although Fawlty Towers might appear to be somewhat dilapidated, its humor was rock-solid. In 2019, a group of experts declared it the best sitcom in a TopMob survey, making it the top choice among many. John Cleese reflects on this achievement by stating, “Determining one show as superior to another is largely a matter of humor preference. However, what can be said is that it’s one of the best. It stands tall alongside shows like ‘Open All Hours’ with Ronnie Barker, ‘Blackadder’, and ‘The Young Ones’. That’s the key point.
That show, The Good Life, belongs to a select circle of exceptional comedies. What sets it apart is its unique take on humor – while not a farce, it offers a distinct form of comedy. For me, farces are special because they typically revolve around a main character who has done something, usually something they need to hide, and their efforts to conceal it lead to increasingly complex situations, creating a higher emotional intensity. This intensity amplifies the laughter in comparison to regular light comedies.
For twelve brilliantly crafted and side-splitting episodes, Fawlty Towers graced BBC2’s airwaves. The married duo behind the scenes, John Cleese and Connie Booth, who also starred, parted ways after their first series in 1975. However, they reunited professionally for the second series in 1979.
He explains that creative individuals aren’t necessarily more or less intelligent than the general population with average intelligence, but they have the ability to play freely – this means they can generate ideas spontaneously and follow them wherever they may lead, without worrying about whether they’re correct or not. It’s a highly experimental approach.
As a movie enthusiast, it feels somewhat similar to crafting an improvised scene without the thrill of live spectators. In such situations, there’s rarely a pre-set strategy. Instead, we’re tuned in to one another, relying on our humor instincts. All of a sudden, a thought strikes: “That could be hilarious!” And from that moment, we dive into bringing the idea to life.
Cleese explains, “Connie might not agree with this, but I often felt when we were writing, I was creating Basil and Manuel while she was developing Sybil and Polly. This approach was beneficial because there were times when I proposed a line for Sybil, and Connie would say, ‘A woman wouldn’t say it like that.’ And that surprised me.
In that setting, she was indispensable: her strengths lay more in character development while mine were more plot-driven. At times, I might lose sight of the characters’ authenticity and shift them slightly off balance, but she was consistently the one who reminded me, “That doesn’t fit the character at this point.
Observing her in the scenes similar to what I did the other day, in The Germans, you’d think no one is paying attention to her as everyone seems fixated on Basil. Yet, she portrays her role so elegantly, showing her exceptional acting skills. This was incredibly beneficial for someone like me who excels at plot development but lacks depth in character interpretation.
Did Cleese experience any jitters during the initial TV episode, which was set to be filmed over 4 decades ago on December 23, 1974? “I was generally relaxed. The plotline was less complex as it primarily aimed to introduce the characters. Also, much of it was performed at a more leisurely pace compared to subsequent episodes.
I recall the audience reacting fairly positively to my performance – not spectacularly, but satisfactorily enough to avoid embarrassment. At the time, I thought ‘This is alright, at least it’s not a disaster.’ Later on, when I shared a drink with some friends and they praised it, I realized, ‘Oh, maybe it was better than I initially thought!’ It never crossed my mind that it would garner more viewers than Monty Python.
Prior to the first episode airing on September 19, 1975, a few minor scenes involving the character of Connie were reshot. Originally, she was portrayed as a philosophy student, but we decided to change her to an arts student instead. These re-recorded scenes were later incorporated into the pilot episode that was produced.
Back in the day, I found myself grappling with the pressure of studio recordings, as time constraints were relentless. “In our era,” I’d say, “we had to squeeze a half-hour show into just two hours. The constant shifts between sets, costumes, and occasional re-takes due to missed shots or flubbed lines made for quite an adrenaline-fueled experience.
Over time, it became clear to me that finishing a performance, regardless of its quality, was an achievement. In fact, what you’re dealing with is the ticking clock, and when you’re under that pressure and constantly checking your watch – as I was, thinking we’re on schedule but we’ve slipped a bit, maybe we can’t re-record the mistake in the opening scene – it’s hard to truly unwind and enjoy yourself. Most of the relaxed play happens during rehearsals.
Reflecting on the successful casting choices, whether from our permanent actors or guests, brings a feeling of fulfillment to Cleese: “At times, I found myself admiring individuals and thinking, ‘What a perfect fit for the role!’
My most lasting impression is of Ballard Berkeley, who was initially brought in by John Howard Davies for the role of the Major. For the first six shows, we worked with John. He was an exceptional child actor, becoming a major star before he joined the navy. Though he may not have been as skilled behind the camera as some others, he excelled at casting and possessed remarkable intuition.
“He came up with Ballard Berkeley and he also came up with Pru Scales [as Sybil Fawlty]. I had already marked Andrew [Sachs, as waiter Manuel] down because I’d seen him in an Alan Bennett play with Alec Guinness, Habeas Corpus.
In “The Psychiatrist” episode, there were Basil Henson and the remarkable lady, Elspet Gray, who was married to Brian Rix. I found her truly exceptional, and one can’t help but think, ‘What a privilege it was to have such talented individuals among us.’
The development of a TV series co-written by him and his daughter Camilla Cleese is ongoing, albeit at a slower pace due to a multitude of other commitments. Upcoming ventures encompass a musical adaptation of the 1988 comedy film A Fish Called Wanda that he penned, as well as a feature film about impersonators in Hollywood. However, progress on these projects has been hindered because talented individuals in Hollywood are typically scheduled three years in advance.
When things get hectic, Cleese prefers to relax by tuning into live sports broadcasts. He finds great enjoyment in this pastime. Among his favorites are cricket, particularly the Somerset team, and of course, England’s national team.
“I think humour is a very democratic thing, it’s very hard to be stuck up and superior if people are laughing, in fact it’s impossible, which is why a lot of very pompous, stuck-up people mistrust laughter because they can’t keep their pomposity up.”
This dedicated admirer of Fawlty Towers expresses gratitude to Mr. Cleese for the years of laughter his work has provided. “What a kind remark! It’s always delightful when I hear such sentiments. Thank you ever so much, goodbye!
The UK tour begins September 2025. Tickets go on sale from Monday 2nd December on ATG Tickets.
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2024-11-30 04:04