A Vicar of Dibley Christmas: The Second Coming
It’s heartening to see the Little Theatre auditorium nearly full for The Vicar of Dibley Christmas: The Second Coming. Plays don’t always pull the same crowds as musicals, but this beloved sitcom clearly still carries serious audience appeal. There’s something deliciously ironic about packing into a warm theatre in a summer heatwave to watch a festive special. If we’re hoping for a dusting of festive snow, we don’t quite get it but, a thunderstorm at the start of the play definitely sets a tone of chaos and hilarity.
Adapted for stage by Ian Gower and Paul Carpenter and based on the original TV series written by Richard Curtis and Paul Mayhew-Archer, this play follows the well-known parishioners of Dibley as they open up a radio station and put on a too-true-to-life nativity.
Attention to detail is immediately apparent in the beautifully realised set, designed by Tristan Knowles. Rich oak panelling, an illuminated Sacred Heart, and three main entrances that transport us between Geraldine’s sitting room, the parish hall, and the radio station. It works incredibly hard across 25 scenes.
The moment the theme tune begins, the atmosphere shifts. We’re no longer watching an adaptation; it feels more like we’ve stepped into a live studio recording. Even for someone who’s never been a dedicated viewer, the characters feel instantly familiar, and long-time fans clearly relish each well-loved quirk with the in-jokes landing warmly.
The casting is a triumph. This is an accomplished ensemble who capture mannerisms and accents with affection while still making the roles their own. The chemistry feels lived in, no doubt, helped by their previous outings together. You get the sense this is a company that enjoys one another’s company, and that joy spills into the audience.
The script remains a real strength, racing through punchlines while cleverly revisiting earlier jokes for an extra payoff. There were people around me doubled over with laughter for much of the evening, a testament not just to the writing but to the cast’s impeccable comic timing. There were a couple of references that haven’t aged well, but those references are fleeting, and the slight discomfort in the audience lasts for mere seconds. There are also moments of lost volume, particularly in Act 1, but these are minor slips, and barely dent the momentum.
This is a fast-paced production, and the blackouts (lighting design by Sam Milton), though frequent, punctuate each scene and keep things tight. Scene transitions are quick, punchy, and paired with a soundtrack (sound design by Sam Kelly) that keeps the momentum rolling. There is a handy guide to the different scenes in the programme compiled by Susan Holmes, in recognition of the need for clarity in the time spans, but I find that watching Alice’s growing bump becomes an accidental timekeeper.
There are a steady stream of slick costume changes. Head of Wardrobe John Bale deserves praise for making that seem effortless, with the Kings drawing particular delight. One standout moment comes during the Nativity rehearsal. Geraldine throws herself into the Angel Gabriel with the attempt of grand RSC-worthy pauses, only for the prompter to mistake each silence for a forgotten line. Anyone who’s done amateur dramatics winces in recognition.
Leading this impressive ensemble cast, Kat Seddon leads with warmth and confidence as Geraldine Granger, balancing energy and heart. Seddon rarely leaves the stage, and often exits on one side, only to appear seconds later on the other side with a costume adaptation. Catherine Lentall is utterly convincing as Alice, and having played this role twice before, it’s obvious that Lentall is very much at home with Alice’s endearing and playful innocence. Keir Watson’s Hugo is agreeably bumbling as he navigates relationships with his new wife and his stern and commanding father. David Lovell, recently seen on the Little Theatre stage as Sherlock Holmes, demonstrates impressive range as David Horton, giving a performance full of gravitas. Jordan Handford’s Owen earns big laughs with dry delivery, timing every gag beautifully – Handford demonstrates Owen’s mannerisms in a pitch perfect way. Nick Adams brings an unexpected tenderness to Frank Pickle’s radio musings, and I love the delight on his face when Frank can finally be himself, blissfully unaware that nobody else has actually listened to his radio show. Ian Carr’s Jim Trott sets the tone from the first “No, no, no, no,” and his, sometimes rather fruity jokes, bring some of the biggest laughs. Elizabeth Spendlove makes each of Letitia’s moments count, and a surprise cameo from Tabitha Fogg continues what’s becoming a lovely LODS tradition.
LDS have delivered yet another high-quality production. Whether you’re a long-time fan, missed the previous production or barely know the show, A Vicar of Dibley Christmas: The Second Coming is simply a great night out, warm, nostalgic, and genuinely laugh-out-loud funny.
A Vicar of Dibley Christmas: The Second Coming is playing at Leicester’s The Little Theatre until Saturday 18th July.
Photography: Poyner & Mee Photography
