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It is a quick seaside break from hell for those staying at Basil and Sybil’s iconic hotel, Fawlty Towers, in this funny and nostalgic mash-up of moments from the hit sitcom.

In a move that is aimed predominantly at those who still have a soft spot for John Cleese and Connie Booth’s 1970s comedy, this stage version draws upon three episodes from the show to form the basis of the play’s script: “The Hotel Inspectors,” “The Germans,” and “Communication Problems.”

The move to squash these three episodes together works surprisingly well, with Adam Jackson-Smith’s intense and berating Basil just as volatile as in the original TV series. Jackson-Smith rises well to the unenviable challenge of taking on such an iconic figure. While the whining and crying evoked any time Basil’s plans falter get a little tiresome, there’s an angry energy channelled into this performance that more than matches Cleese’s initial portrayal, evoking just the right level of chaos, particularly in the show’s closing scenes where a concussed Basil encounters his German guests.

Alongside Jackson-Smith, Victoria Fox’s Polly is spot on, providing a sense of calm and poise in contrast to Basil’s frustrations, while Hemi Yeroham’s goofy Manuel is much like Andrew Sachs’ initial iteration, though here the play definitely dilutes some of Basil’s abuses to his Spanish waiter. In this sense, the play is a little like a old pair of shoes, where the audience can neatly jump back into the catastrophe of surely Torquay’s worst guest house, especially thanks to the inclusion of familiar faces such as Paul Nicholas’ Major.

Anna-Jane Casey’s Sybil, Basil’s embittered and fierce with, is sharp tongues but this is the only character who does not translate as successfully to the stage as the others. Casey’s portrayal is a little too cold towards Basil, a symptom of the choice of episodes as source material, and it is a shame that Sybil disappears in the final act for toe surgery.

Nevertheless, Fawlty Towers is strong viewing for those still quoting Basil’s frustrations almost fifty years later. The combination of episodes has been largely successful, and the piece’s design (Liz Ascroft) makes suitable compromises to move Basil and Sybil’s office to the front of the stage, and takes out the dividing wall between reception and dining room, only adding to Fawlty’s chaotic management.

While nothing new to add to the Fawlty Towers canon, this is a funny and nostalgic reworking of some of British sitcom comedy’s best moments, and it remains a joy to see Basil’s excruciating approach to hotel management come to life once more.