Dinnerladies

Touching on everything from HRT to Jane Austen, David Graham’s adaptation of BBC favourite dinnerladies is the definite special of the day.

Spreading the plot of the original series between two margarine-smeared acts, the production is an alluring mix of comedy and impressionism. Pleasingly, it succeeds in capturing the spirit of the original programme in a way that Victoria Wood’s recent theatrical endeavour, the musical adaptation of Acorn Antiques, did not quite manage.

This classic love story comes with a strong pot of tea. The on-off romance between teasmaid Bren (Laura Sheppard) and catering manager Tony (Andrew Dunn) is as gripping as it was in the original series.

Overseen by ditzy sweetheart Anita (Shobna Gulati), mad mother Petula (Jacqueline Clarke), Daily Mail-quoting Dolly (Liz Bagley), the oversexed and menopausal Jean (Stella Ross) and the kebab-eating Twinkle, Dinnerladies follows the highs and lows of workmates over the course of a year.

Its examination of the serious issues at its heart is particularly well handled, cutting the underlying tragedy with a warm familiarity that welcomes you to its coffee break.

Stars of the original programme Andrew Dunn, Sue Devaney and Shobna Gulati are the obvious cohesive link with the show’s roots but the new girls in the kitchen are truly spectacular.

It would be impossible to guess who many hours Sheppard has spent studying the original episodes: her voice, mannerisms and style of delivery can be nothing but the product of painstaking observation, much to the delight of an audience who fondly remember Wood’s performance. Choose a seat in the grand circle and it would be easy to mistake the newcomers with the original actors. The fourth wall of the performance could easily fall and be replaced with the glass of a television.

Sometimes food tastes more flavoursome when it is reheated. Adapted from the situations and scripts of the television programme, there is very little new and original material. Whilst references to the economic downturn and Keira Knightley have been added, this is a cosy representation of what might have happened if the nineties had never ended.

And it does not matter in the slightest. With such familiarity comes a greater audience appreciation of the characters, their tastes in love and their tastes in bread. What could come across as contrived situational comedy becomes the oddly charming comings and goings of old friends, breathed into life by keen observations of the original characters, a laugh-out-loud script and the identifiable musings on five dinner ladies on everyday life.