The Vicar of Dibley A Holly Wholly Happy Ending

The Vicar of Dibley: A Holy Wholly Happy Ending is the final instalment of the stage adaptations, and I was looking forward to seeing this cast take on these wonderful characters again.

Linda Dyne directed this talented cast once more, paying close attention to the source material. I was particularly impressed with the vocal quality and clear diction. This was enhanced by using a new sound reinforcement system of rifle microphones and front-of-stage pick-ups at the theatre.  Both this new system and the performers good use of projection, made for a good sound quality.

Geraldine Granger, made iconic by Dawn French, is no small role to take on. Carrie Williams rose to the challenge brilliantly; at times it felt as though Dawn French herself were delivering the lines. Carrie’s comic timing was first‑class—an excellent performance. Geraldine’s love interest, Harry Kennedy, was played by Stephen Deaville, who brought charm, sophistication, and strong on‑stage chemistry with Carrie.

Another iconic role, Alice Tinker‑Horton, was portrayed by Carly Cousins. She was brilliant—funny yet sincere—and it was that sincerity that made her comedic moments land so effectively. Her partnership with Carrie was a joy to watch.

David and Hugo Horton were played by Jim Markey and Barny Shergold. Jim captured David’s self‑importance while still showing his underlying affection for Geraldine and the village. Barny made Hugo every bit as awkward as he is in the television series.

John Bain delivered a fantastic performance as Jim Trott. His mannerisms, voice, and comic timing were spot on—an uncanny portrayal. David Cousins was excellent as Owen Newitt, with sharp comic timing and another strong imitation of a classic character.

Letitia Cropley and Frank Pickle were played by Pat Lay and Martyn Broyd. Both portrayed their characters wonderfully. Pat captured Letitia’s eccentricities with deadpan sincerity, especially when discussing her infamous recipes.

The remaining roles were played with skill by Beckie Tunnicliff‑Walsh, Katerina Ayres, Samuel Smith, Alexandra Charalambous, Pete Hawes, Becca Chiplen, and Julie Markey.

The set felt like another character in itself—beautifully designed, well thought out, and perfect for the stage and the show. The stained‑glass window was particularly striking, a stunning way to evoke the church setting.

This was an entertaining evening, beautifully performed and a delightful trip down memory lane for anyone who remembers the classic television series. Well done to all involved.

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