Serving Up Comfort: Why I Love dinnerladies

Victoria Wood was, without a doubt, one of the finest comedians in the world. My grandad was a huge fan of hers, and I seem to have inherited that from him. It wasn’t until I was building up my comedy DVD collection that I fell in love with her wide variety of work, with one project becoming a clear favourite.

dinnerladies is Victoria Wood’s BBC sitcom, set entirely in the canteen of a Manchester factory. From the very first scene, I fell in love with it, and I now consider it to be the pinnacle of Victoria Wood’s repertoire. I wish I’d watched it at the time, like I did with other sitcoms of the ’90s, but unfortunately, it was years later when I eventually got to experience this joy.

It was Christmas 2006 when I was gifted the precious orange-coloured DVD box set. The first episode starts on a regular Monday morning, as the characters begin arriving for work, gradually introducing themselves through dialogue. It immediately felt comforting. They felt like real people who you could imagine knowing in real life. It was incredibly mundane, yet at the same time, I couldn’t take my eyes away. The comedy definitely comes from each character’s personality, which you quickly become familiar with as things go on.

As a big fan of The Royle Family and The Smoking Room, amongst others, I’m fascinated by the idea of a sitcom taking place entirely on one set; a set that essentially becomes a character in itself. It forces the comedy to be clever, relying on the characters’ personalities and dialogue rather than things like slapstick or hijinks. dinnerladies plays to Victoria’s strengths in exploring characters through comedy, finding fascination in the everyday. We learn about their outlook on life, their beliefs, their likes and dislikes, their home lives, their private lives, their social class and their families through their comedy.

I loved all of these characters instantly. With a main cast of nine characters, you’d expect at least one of them to be the weak link, but there isn’t a single one who isn’t loveable, and all of them are irreplaceable. There’s something so charming and relatable about them all, despite how different they are from each other. They all just click as an ensemble, like a fine tapestry. Despite this physically small world we’re shown in each episode, it doesn’t feel claustrophobic.

I didn’t know upon first watching, but dinnerladies would become VERY special to me as one of my comfort shows. One that I’d watch on repeat, multiple times per year. One that would get me through hard times, and one whose theme tune would feel like whispering “everything’s going to be alright” into my ear as a wave of calm washes over my body and mind.

At its core, dinnerladies offers a glimpse into working life in the canteen at HWD Components, featuring very ordinary canteen workers, yet I find an extraordinary amount of comfort, humour and affection in watching them. The characters are relatable and feel like the sorts of people you might know in real life: “That’s my auntie”, “That’s the man at my local newsagents”, “That’s me”. It’s quite amazing that we only see a cramped and shabby kitchen and seating area throughout, yet their world doesn’t feel small. We are treated to constant references to the world outside of the canteen, from the fire escape to Marbella via sash windows. We meet other factory workers from beyond the canteen, too.

One thing that I love is how the canteen feels like a real workplace, rather than a sitcom set. Despite it lacking a fourth wall, of course. Each episode was recorded in front of a live audience, giving us genuine audience laughter, which I find far less offensive than the alternative: canned laughter.

Sixteen episodes of dinnerladies were produced in total, spread over two series and broadcast from 12th November 1998 to 27th January 2000. I’d love for there to have been more, but Victoria Wood clearly knew when to call it a day. Quality over quantity. End on a high, rather than going out on a whimper. I’d love to be able to watch them all for the first time again, but thankfully, it’s just as funny on repeat viewings.

The first series follows a loose, unconnected plot-of-the-day format for each episode, whereas the second series features more of an overarching story thread throughout, as we move through the seasons with the characters. Most of the characters go through a journey of some kind, whether it’s finding love, finding themselves, or even learning to live independently.

Not only did Victoria Wood create the show, but she also cast herself as the face of it, Brenda Furlong. Bren for short. I can’t imagine anyone else in the role. She’s quite possibly one of my favourite characters in any TV show or film. She’s someone who you would want as a friend, full of warmth, compassion and empathy, despite her past trauma, vulnerability, loneliness and seemingly empty life.

There’s a line that says a lot about her character, where she is asked if she has ever heard of an inferiority complex, and she responds, “Yeah, but I’ve never thought I was important enough to have one”. She doesn’t even trust that her romantic interest, Tony, could have genuine feelings for her because she thinks so little of herself. Despite her low self-esteem and self-deprecating humour, she portrays confidence in herself and always lifts others up. She furiously defends those she loves.

I’d love to give Bren a big hug and have a cup of tea with her. The workers may consider the toaster the heart of the canteen, but I’d argue that it’s Bren, the glue that holds everything together. Everyone needs a Bren in their lives.

Part of the reason why the ensemble works so well is that all of the characters are different, and their dynamics with each other keep things fresh but familiar.

Dippy and naïve, Anita can often be found in her own little world, oblivious to what is going on around her. She’s loveable and daft, but is a liability in the kitchen environment. She’s sweet, and the other canteen workers are gentle with her innocence.

Uber-conservative, Daily Mail-reading Dolly provides a ‘traditional’ outlook on everyday events, and shares many ignorant beliefs common amongst people of her demographic. Characters can often be heard censoring themselves around Dolly to protect her from the distress that words like “bloody” cause her, whilst she blames all the bad in the world on Labour Prime Minister Tony Blair.

Jean is Dolly’s long-term friend, going way back before HWD Components. Despite their closeness, they couldn’t be more different. Jean is much less of a prude, and less obsessed with her weight. Dolly likes to highlight that Jean has “hips”, but Jean isn’t phased by this one bit, having much more confidence in her own body. Jean enjoys highlighting that Dolly isn’t as perfect as she’d have you believe.

Petula is a delusional mess and a habitual liar. She appears to live in a world of her own, constantly embellishing her life and claiming friendships, lovers and experiences that seem increasingly unlikely. She is Bren’s mother, but I use that word loosely. Bren is definitely better off without her. She doesn’t work at the canteen, but frequently visits Bren, perhaps as a subconscious longing to bond with her daughter. Petula claims to have many celebrity friends and a fulfilling life, whereas the truth is that she lives in a manky caravan on a petrol station forecourt. Everyone just leaves her to it rather than challenging her statements.

Philippa often feels out of her depth in her role as personnel (sorry, “human resources”). She’s scatty and often makes social faux pas, but clearly values the friendship of the canteen workers, drawn to their group even though they don’t seem to consider her one of their own.

I wouldn’t be surprised if Stan were on the autistic spectrum, given his fascination with the specifics of all things DIY and hardware, and his rigid ways of doing things. He exhibits a few misogynistic values regarding gender roles, which he seems to mean with no ill will, as though they have been drilled into him by his father. He’s vulnerable and still learning to be an independent adult, but the group treats him as an honorary canteen member, despite being the maintenance man.

No-nonsense bloke Tony is outnumbered amongst the women on his team. He’s fond of women and is suggested to have a stash of pornographic magazines in his office. His role as manager of the team is almost redundant, as they seem to organise themselves just fine on their own, although he is greatly missed when he is taken ill. He’s implied to have worked with Bren for some years, with a romantic connection between them that is obvious to everybody else except each other, with neither feeling confident enough to make the first move.

Twinkle is the youngest member of the team, and usually can’t be arsed. She’d rather be in bed nursing a hangover or drunkenly climbing into a skip. She’s happy to do the bare minimum, show up when she wants, and has no time for the humour of the “old” people she works with. Beneath all this, it becomes apparent that Twinkle is her disabled mother’s carer, and seems to do a very good job of it, too. It’s no wonder that Twinkle can’t give the canteen her full attention if she’s exhausted from her home life.

The show has a wonderful array of recurring characters and familiar faces. There’s the likes of Jane, known for popping up at the counter with her large toast orders that keep her going through the day, her fondness for a cocktail on a night out, and her tropical fish that she lost in a power cut.

There’s clumsy Steve, who doesn’t like his food touching and can’t seem to get a break unless it’s his leg. Norman the bread man, who is agoraphobic due to an incident when he fell off a diving board in Guernsey (which he frequently reminds people of), and his colleague Glenda, who has had a mysterious surgery that is never fully explained.

Mr Michael is high up in the company and initially dates Philippa; however, neither of them is getting what they need from the relationship. There’s also Bob, who occasionally weighs in on the gossip at the counter as he waits patiently for bacon.

And then there’s Babs. She’s from Urmston (and there’s two ways to get there, apparently) and despite seemingly not being mentally present, has an encyclopaedic knowledge of kitchen appliances, which impresses Stan.

There are some fantastic one-off guest characters too. The simpleton work experience girl, Sigourney. Dolly’s sharp-tongued mother, Enid, who doesn’t have a kind word to say about anybody or anything, including her daughter (perhaps explaining her body image issues). Prince James, the Duke of Danby, who fancies a bunk in the cupboard with Bren, but settles for a bacon butty instead. Peter, who loves going to Marbella to eat McDonald’s and buy bin bags in bulk. Shelagh, Petula’s almost-mother-in-law, who’s on thirteen types of tablets, and Bobbie, the blood donation nurse who needs to eat biscuits to keep her weight up, despite already being a plus-sized lady. And I can’t forget to mention Malcolm, Anita’s inflatable bodyguard that nobody would want going down on her.

There are also unseen characters who we occasionally hear about and come to imagine what they’re like. Harry from the packing department, known for being a bit disgusting. Jean’s husband’s aunt who once ate a raffia drinks coaster thinking it was a high-fibre biscuit, and had to be held back from buttering two more. Dolly’s son Steven, who lives with his “friend” called Marcus, which makes Dolly feel uncomfortable for some reason(!), and then Bren’s brief love interest, the Calor gas man. These mentions expand our characters’ world and makes them feel more like real people with real lives, rather than simply canteen workers who cease to exist once they leave at the end of the day.

It’s a credit to Victoria Wood that she can make dinnerladies so funny when nothing of significance really happens. Her characters and dialogue bring it to life, luring you in by being so relatable and down-to-earth. Spending half an hour in the HWD Components canteen with them is one of the most comforting experiences in my life.

So often it’s the specific, detailed references that make me laugh. Like when Tony thinks Bren is pregnant and she insists she can’t be, “not unless sperm can get through a sash window”. It’s such a random thing to say, but it’s the specific “sash window” of that line that helps paint a funny picture, making me chuckle.

It’s great that each character brings their own sense of humour. Stan’s comes from his avoidance of rude discussions and his rigid adherence to the rules. Anita’s comes from her not understanding words and instructions very well. Twinkle’s comes from her laziness. Dolly’s comes from her prudishness. Jean’s comes from her bluntness and outspokenness. Tony’s comes from him being worn down by women’s talk. Philippa’s comes from her scatty nature and being out of her depth. Petula’s comes from her outrageous imagination. Bren’s comes from her wit, timing, references and clever wordplay. Together, it all blends seamlessly and creates a never-ending stream of humour.

It’s rare that dinnerladies would resort to slapstick for humour, but there is a little bit scattered throughout. I immediately think of the series two opener, where a giant ladder somehow gets wedged across the canteen, oil is spilled, plates get smashed and someone’s bursting for a wee whilst stuck on the other side, unable to limbo due to a mysterious surgery. Or perhaps where Petula turns up covered in soot after her caravan blew up, off-screen.

There’s the running jokes, too. They make you feel like you’re part of this friendship group and know their inside jokes. How everyone shouts “shut the door!” whenever Tony goes for a fag on the fire escape. How Bren often forgets the word she’s looking for and says something similar-sounding, or somehow loosely related via a series of word associations, like “Harrogate” for “surrogate” or “toadstools” for “disenchanted”. How Dolly blames Tony Blair for everything bad in the world, and believes everything she reads in the Daily Mail. The repetitive catchphrases and recurring stories, like Norman’s agoraphobia, Stan’s dad being a desert rat, or Petula asking Bren if she remembers an event despite her not being there.

Conversations can often segue and go off on a tangent, which can turn a simple question into a juicy piece of gossip, much to Tony’s frustration. Misunderstandings also provide a good source of comedy. Not just in Anita’s case, where she assumes Tony saying “Anita, get your yoghurts out” is a euphemism for getting her breasts out, or that “genitalia” is the silver stuff you drape on the branches of a Christmas tree, but also in situations like when Philippa is telling Bren about her lack of a sex life, as Bren asks “what do you want?” meaning a tea or coffee, but Philippa assumes she’s talking about her sexual desires.

There’s never a moment where you don’t feel like either laughing or smiling. The rhythm never dies; even when there’s no dialogue, there is something in the scene to hold your attention or keep you in the right mood.

Sometimes, the laughter that comes from a situation can bring out a more personal side of a character. For instance, the humour may be masking their loneliness, insecurity, grief or disappointment. Victoria Wood manages to make these negative emotions relevant without bringing the mood down, but it also helps you warm to the characters as they are given these additional layers.

dinnerladies is set in Manchester. Admittedly, it’s a bit further out from where I live in Trafford, but hearing references to local places such as Strangeways Prison and the Midland Hotel is fun. The closest references to my location are from Babs, with her trademark mentions of Urmston, somewhere I frequently visit. It makes it all feel even more familiar to me. The Mancunian accents and dialect certainly add to this, and it’s fun when the differences between northern and southern lives are highlighted.

dinnerladies takes place at the turn of the millennium, so inevitably risks feeling a bit dated by modern standards. To me, though, it still feels fresh and familiar, even though a lot of that period has disappeared. I suspect a new audience might find it a bit old-fashioned, but I love the idea of new viewers falling in love with it just like I did.

Picking favourites in dinnerladies is hard. I think I’d have to say that Bren embodies everything I love about the show and is likely my favourite character.

My least favourite episode is ‘Christine’. Not because it’s bad, but because it upsets me how all of my much-loved characters turn on their new colleague, who is only guilty of being flawed. Christine doesn’t fit within their circle, and it feels like bullying at times, as they essentially force her out of her job. It makes most of the characters feel inconsistent and unpleasant, despite their (valid and relatable) frustration at their new colleague.

The finale is particularly lovely, and it makes me feel emotional saying goodbye to these characters, even though I can revisit them at any time. I think it brings a nice sense of closure to everything. The canteen is closing down and everyone is going their separate ways, and Bren shows kindness to all of her friends by sharing her inheritance with them all, to help with their new lives. Considering Bren has seemingly lived on the breadline for most of her life, it’s lovely that she would make this gesture, and very in-character. She finally gets her happy ending with Tony, and I like to imagine that they are still living happily ever after even now.

I think my favourite scene is probably from my favourite episode, ‘Christmas’. Where Bren is about to leave everything, thinking nobody truly cares about her… then suddenly her whole world changes as she discovers that all her friends have surprised her with birthday gifts, and that love interest Tony has hired her favourite brass band to perform for her, along with buying her the childhood gift she always wanted but never got. It’s just one of those moments that feels like a big hug, as you feel every bit of happiness filling Bren’s heart.

One of my favourite lines comes from Jane, when Jean is in a bad mood and taking it out on everybody, and Jane responds with, “I lost eight tropical fish last week in a power cut”. The first time my partner heard this line, it really tickled him, and it always makes me laugh on repeat viewings. I also really enjoy Jean’s sister Peggy, who walks into the canteen, sniffs the air and asks, “What have you been cooking? Food?”. As I mentioned earlier, I am also really fond of the inferiority complex line with Bren, as that felt very relatable to me.

Jane is probably one of the characters who deserves more appreciation, to be honest. She only usually pops up for one scene at the counter, but she brings a bit of liveliness to the place, like an honorary canteen member. I think Victoria definitely saw potential in her, as her role seemed to grow as the show went on.

I think the familiarity of the show is part of what keeps me coming back. Even though I’d love to watch it again for the first time, there’s something just as comforting about knowing every line before it happens. When I can’t sleep, I put my headphones on and listen to dinnerladies because it soothes me almost instantly.

It’s such a pleasure to spend time with these characters and forget the rest of the world. It’s like visiting good friends who can always pull you out of a depressive episode. How I’ve felt about the programme has never changed. I love it just as much now as when I first watched it. I don’t think I will ever get tired of it, because of that sense of familiarity running throughout the show. This show has done more for me than any therapy ever has.

It’s amazing that a sixteen-episode sitcom from over 25 years ago still has such a legacy, and so many fans across the country, old and new. Somehow, despite such a small episode count (although admittedly standard for UK shows), we are left with a show that never once dipped in quality. There isn’t a bad episode in there. It’s all tip-top quality, although I’m sure Victoria would be a lot more self-critical.

Of course, I wish there was more, but equally, I’m satisfied with what we got. Victoria seems like the sort of writer who doesn’t like to do the same thing more than once and likes to challenge herself, so perhaps we’re lucky to have got two series instead of one. I imagine extending it could eventually have caused it to lose some of its charm, especially as the cast would inevitably have started moving on to other projects. I can’t imagine a third series that lost even one of our cast.

As I didn’t start watching until after the show had ended, I went in knowing that an end was in sight. It might have felt different had I been watching it on first broadcast, hoping that it would run for many more years.

dinnerladies does live on in the form of stage shows, documentaries and discussion in those talking-head shows. I would have loved to watch Victoria reprise the role of Bren somehow, had she not passed away. Any opportunity to get more from the show.

The stage show is continuing next year, albeit with a different cast and without Victoria overseeing it, but hopefully it performs well as a nice tribute to Victoria and the show’s lasting legacy.

It has always felt to me like anyone watching dinnerladies would fall in love with it in the same way I did. I have never met somebody who watches it and doesn’t like it. Admittedly, I haven’t asked. But it just feels like one of those universally loved shows, where it’s sacrilegious to have anything negative to say about it.

I like to think it’s one of the shows to watch if you wanted to get to know me. It shows my sense of humour, the kind of people I value and my being down-to-earth. I hope that I could introduce anybody to it and they’d love it.

When Victoria passed away, it broke my heart. She had so much more to give, and her absence leaves a huge hole in this world. Truly a sad loss, but I am so grateful to her for her repertoire of work, with a special appreciation for dinnerladies.

If you’ve never watched dinnerladies but perhaps I’ve piqued your interest, or maybe you just want to watch it again, you can buy it on DVD here. Unfortunately, it isn’t currently available for free streaming.