The Vicar of Dibley

Adapting a well-known sitcom for the stage is no small undertaking, particularly when the source material is as beloved as The Vicar of Dibley by Richard Curtis. The practical challenges are immediately apparent—translating multiple locations and an episodic structure into a cohesive live performance demands careful thought and creativity. More significantly, there is the audience’s deep-rooted familiarity with the characters. These are figures who exist vividly in the collective memory; performances must feel recognisable and true to the original, capturing the essence, warmth, and comic timing that made them so enduring in the first place.

This sense of nostalgia and affection was evident from the moment I arrived at Blackfriars Arts Centre to see Boston Playgoers’ matinee performance. A full house created an immediate sense of occasion - clear testament to the lasting popularity of the series. Adding to the atmosphere, screens on either side of the proscenium arch displayed a 1990s television theme tune quiz as the audience took their seats. It was a thoughtful and engaging touch, giving people something to enjoy as they settled in while neatly evoking the era in which the show first found its audience. If anything, it was only slightly undermined by the fact that much of the accompanying music wasn’t quite loud enough to be clearly heard, but the idea itself was a charming and effective way to set the tone for the afternoon.

Taking on the titular role of Geraldine Granger - so fondly associated with Dawn French - is no small task, and Laura Griffin approached it with clear commitment and enthusiasm. She demonstrated superb diction throughout, no small achievement given the sheer volume of dialogue the role demands and delivered her lines with conviction. Her portrayal was exuberant and energetic, supported by a confident stage presence and an ever-ready smile that suited the character’s open-hearted nature. Laura also handled the more reflective moments with sensitivity, particularly during the scene in which Frank reads the letter, allowing the emotional weight of the piece to land effectively. At times, the comic moments felt a little more deliberate in their delivery, though this did little to diminish the evident care taken in shaping the role. Where Laura truly shone was in her interaction with Megan Davies as Alice Tinker; the pair shared an easy rapport and a natural chemistry that brought a welcome sense of warmth and authenticity to their scenes together, setting the stage nicely for the ensemble dynamic to flourish.

Megan gave a very well-observed performance as the vicar’s delightfully guileless verger, a part made famous by Emma Chambers in the original series. Megan captured many of Alice’s most recognisable traits, bringing a charming innocence and earnestness to the character, alongside a generally consistent West Country accent. Her performance was marked by strong, animated physicality, which suited Alice’s quirky nature well, and she fully committed to the role’s comic potential. The iconic “I Can’t Believe It’s Not Butter” scene was delivered with great flair and earned a well-deserved round of applause, while the familiar end-of-episode joke exchanges were handled with confidence and a clear understanding of their rhythm. At times, the enthusiasm of the performance could have been tempered slightly, and there were moments where scenes were played side-on in conversation rather than opening out towards the audience. Nevertheless, this was an assured and engaging turn, full of energy and affection for the character, and one that clearly resonated with the audience.

Megan shared many memorable moments on stage with Callum Thomas, who played Alice’s fiancé, Hugo Horton, particularly in the hilariously executed kissing scene that had the audience laughing aloud. It was a delight to see Callum back on stage in this wonderfully spirited and lively comic turn as Hugo. He brought the character to life with excellent mannerisms and spot-on facial expressions, demonstrating a keen sense of timing that amplified every joke. Callum’s talent for physical comedy was a real highlight: whether dashing out of the room in a panic, slamming his head on the table, or flopping back dramatically onto the sofa after the kiss, each movement was both precise and very funny. His performance captured Hugo’s anxious charm and slightly flustered nature perfectly, though a slightly more refined, upper-class accent - evoking a public-school background - might have added an extra layer of authenticity to the character. Even so, Callum’s energy and comedic skill made him a thoroughly engaging presence on stage and a perfect foil to Megan Davies’ Alice.

Hugo’s father and chair of the Parish Council, David Horton, was played by Mick Broadhurst. It is a role that requires a mix of authority, dry wit, and emotional subtlety. While Mick brought a steady presence to the character and handled the final scene with sensitivity, some of the shifting dynamics - particularly in the will scene - were delivered with a lighter touch, leaving certain emotional moments less fully explored. Nevertheless, he approached the material with focus, contributing to the overall flow of the performance. His portrayal provided a solid foundation against which the other characters’ comic and heartfelt moments could shine, and his clear diction ensured that David’s lines were always understandable, giving the audience a firm sense of the character’s personality and intentions.

Turning to the members of the Parish Council, Joanne Moules brought the relatively small role of Mrs Cropley vividly to life. Despite being considerably younger than the character, she convincingly embodied her age through thoughtful physicality - hands on hips, a slightly wider stance, and a gently slumped posture - which gave Mrs Cropley a strong sense of presence. At times, the natural energy and vibrancy Jo always brings to the stage slightly betrayed the character’s more mature age, but it was clear she was thoroughly enjoying herself and a real warmth radiated from her. Overall, she was a delightful addition to the cast, delivering a performance that was both entertaining and full of personality.

Also amongst the Parish Councillors was Danny Chester as Frank Pickle, giving a wonderfully endearing performance that was a joy to watch. Frank’s gentle, slightly timid personality—full of understated charm and careful thought—was brought to life beautifully through Danny’s subtle approach. His performance was quietly confident, with a measured delivery and a rich, resonant voice that perfectly suited the character’s reflective nature. Small touches, such as the lovely moment when Frank retrieved some change from his purse, added subtle but effective comedic and character detail. Danny’s timing, restraint, and attention to the little gestures made Frank feel both authentic and delightfully amusing, providing a steady and warmly human presence within the council.

Craig Pakes delivered another standout performance as cattle farmer Owen Newitt, bringing the character to life in a wonderfully vivid and entertaining way. He captured the distinctive tone and expressive style of Roger Lloyd-Pack’s original portrayal, while making the role his own with confident timing and physical comedy. Craig excelled in the famously humorous swearing scene and delivered memorable lines such as ‘Sizzle my sausage’ and ‘Would you like me to rub Vick on your chest?’ with impeccable comic timing. The snogging scene with the vicar was priceless, and the awkward proposal later in the play was handled brilliantly, highlighting Owen’s coarseness, sleaziness, and grotesque charm—qualities that landed perfectly with the audience. Overall, it was a highly accomplished performance, full of energy, wit, and characterful flair.

Another standout performance, and undoubtedly the funniest for me, came from Jon Molson as Jim Trott. Simply brilliant, his portrayal combined an impeccable impersonation with superb characterisation. When I first heard his voice over the sound system reading the announcements, I genuinely thought it was Trevor Peacock from the original series. I laughed out loud throughout his scenes and found myself eagerly anticipating his next appearance on stage. Jon’s mannerisms, intonation, accent, and comic timing were all spot on, perfectly capturing Jim’s distinctive personality. The scene where Jim and Frank visited the vicar, giggling like schoolboys over the silliest of puns, was beautifully played, and the absolute comic highlight for me was Jim practising his best man speech. Well done, Jon, on a phenomenal and thoroughly memorable performance.

Turning to the director, Julian Warrick, this was his first time in the role, and it was clear that he had fostered a warm, supportive environment in which the cast could give their very best. Many of the strong performances were undoubtedly helped by the friendly and creative atmosphere he must have encouraged. It was also evident that Julian is developing a keen sense of pace and stage impact, skills that will grow even further with experience. In terms of constructive suggestions, attending to some finer details would further enhance the authenticity of future productions. For example, the outside of the vicarage front door was seen frequently and there was a black piece of cloth seen flapping every time it opened, some actors didn’t have coins for the ‘swear jar’ and the telephone ring was American in style; these small touches, though subtle, make a significant difference to the overall effect. Another example was the Mini Egg Chocolate bar; I believe this is a modern product and maybe another option from the era would have been more appropriate, particularly given the thoughtful celebration of the 1990s throughout. By the way, I loved the idea of playing classic nineties adverts on the screens during the interval—a clever, immersive detail that added to the nostalgic atmosphere. Overall, Julian’s first outing as director showed promise, enthusiasm, and a clear ability to bring out the best in his cast, and I look forward to seeing how his skills continue to develop.

The set was basic but functional, cleverly constructed to allow the numerous scene changes to be executed as smoothly as possible. While the minimal set dressing was effective and didn’t distract from the action, a touch more finesse and detail might have fully enhanced the atmosphere. I wondered whether a split set might have made transitions from scene to scene feel even less intrusive. Adapting a television series for the stage naturally involves frequent changes of location, and although the stage crew moved the pieces impressively quickly, these transitions did occasionally impact the rhythm and pace of the performance - a real shame, as the momentum of the comic scenes was so enjoyable. That said, the production concluded with a striking and memorable final church set. The pipe organ was extremely impressive, the lighting beautifully highlighted the long, stained-glass windows, and the stone-effect walls gave the space a real sense of gravitas. Overall, the set did its job well, providing a clear and practical backdrop throughout, and finishing with a visually stunning tableau that left a lasting impression on the audience.

The lighting was very effective, fully illuminating each scene and using spotlights and specials to highlight key moments, which added focus and drama where needed. The sound was clear overall, and the handling of the radio microphones was competent, allowing most of the cast to be heard without issue. That said, in a venue like Blackfriars Arts Centre, with its good acoustics, the experienced and talented cast might have managed perfectly well without amplification. There were a few moments where the mics picked up voices from the wings or briefly cut out, which slightly affected the balance between actors, and the sound levels remained consistent even when characters moved between different areas of the stage or into the ‘kitchen’ or ‘corridor’, rather than subtly reflecting their position. For future productions, a little consideration around whether head mics are necessary - and how to manage levels when actors move - could enhance the naturalism of the performance. Overall, however, the combination of lighting and sound supported the production well, helping the audience to follow and enjoy the action throughout.

The costumes by Jo Warrick, were truly exceptional, adding colour, personality, and authenticity to every character. There were so many standout touches: the vicar’s charming array of knitted jumpers and her playful ‘Jesus Raves’ t-shirt, Mrs Cropley’s fleece and her wedding hat, Owen’s hilariously ill-fitting proposal suit, Frank’s distinctive pink waistcoat, Hugo’s carefully chosen selection of ties, and Alice’s girly, colourful, and delightfully childish outfits, perfectly reflecting her innocent and quirky personality. Yet the undisputed triumph was Alice’s pink-trimmed white wedding dress, complete with heart motifs and a fairy light headdress, which stole the show and perfectly captured the whimsy of the character. Jo’s thoughtful and imaginative costume choices were a joy to behold, enhancing both the comedy and the charm of the production while giving each character a vivid, memorable presence on stage.

The programme, presented as the ‘Dibley Parish Newsletter’ was a clever and enjoyable touch, setting the tone for the production from the start. I particularly appreciated the History of Boston Playgoers section, though, given that the society has been thriving since 1928, it would have been lovely to see a few photographs from older productions alongside the more recent ones. Beyond this, congratulations are due to stage manager, Rob Nicholls, and production assistant, Callum Forman, as well as to Julian Warrick and his talented cast for bringing the production to life. Together with the whole creative team, they delivered a thoroughly fun, funny, and engaging afternoon of quality entertainment that celebrated the spirit of the original series while showcasing the skill and dedication of everyone involved.

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