In a dazzling tribute to one of Britain’s most beloved sitcoms, Keeping Up Appearances has found new life on the stage, with Henley Amateur Operatic and Dramatic Society (HAODS) delivering a dinner-theatre adaptation that captures the essence of Hyacinth Bucket’s world. At the heart of this production stands Caroline Hopkins, who commands the stage with a performance that is nothing short of a tour de force.
For fans of the original Keeping Up Appearances, this stage adaptation offers a nostalgic treat, bringing back all the familiar characters with a fresh theatrical spin. The show’s plot revolves around Hyacinth’s latest social ambition—securing a prestigious role in an amateur dramatic production.
Naturally, she insists on a part that reflects her imagined status in society—a duchess, no less. What unfolds is a chaotic, hilarious, and delightfully cringeworthy display of her characteristic pretensions, her relentless attempts to climb the social ladder, and the inevitable disasters that follow.
Caroline Hopkins embodies Hyacinth Bucket to perfection, delivering a performance that is both captivating and utterly believable. Playing a character as iconic as Hyacinth is no easy feat, given the legendary status of Patricia Routledge’s original portrayal, but Hopkins rises to the challenge with confidence and impeccable comedic timing.
Her ability to switch between Hyacinth’s affected upper-class accent and her moments of flustered vulnerability adds depth to the character, making her both ridiculous and, at times, oddly sympathetic.
Throughout the two-hour performance, Hopkins dominates the stage, effortlessly handling Hyacinth’s demanding dialogue and navigating a wide range of emotions. From her haughty delight when she believes she is impressing others to the crushing moments of humiliation when her illusions are shattered, Hopkins ensures Hyacinth remains a compelling presence from start to finish.
She captures the very essence of what makes Hyacinth both a character audiences love and one they love to laugh at.
Of course, a strong cast is essential in keeping the comedic energy flowing, and this production is brimming with fantastic supporting performances. Jenny Sakal brings warmth and humor to the role of Daisy, Hyacinth’s affectionate yet mischievous sister, whose romantic enthusiasm adds an extra layer of comedy.
Samantha Riley delivers an equally lively and entertaining portrayal of Rose, Hyacinth’s flirtatious and scandalous other sister, creating plenty of laughs as she flits from one romantic escapade to another.
Paul Cockfield plays the unfortunate man caught in Rose’s latest whirlwind of passion, delivering a perfectly awkward and bewildered performance. Julia Ashton, as Liz, provides a solid and natural counterbalance to Hyacinth’s absurdities, while Simon Kelly impressively channels the spirit of Geoff Hughes’ original Onslow, complete with his trademark laid-back charm.
Ian Head steps into the shoes of Emmet, the weary amateur dramatic director forced to endure Hyacinth’s relentless self-importance. His exasperation is a delight to watch, particularly in moments where he visibly struggles to maintain composure as Hyacinth’s demands escalate.
Claire Hewitt offers a short but memorable turn as Mrs. Debden, while Rebecca Wilcox provides running comedic moments as a confused artist who keeps arriving at the wrong time.
One of the evening’s most unexpected highlights comes in the form of Stef Socki’s wordless but scene-stealing cameo as Hyacinth’s father. Wearing nothing but a pair of Union Jack boxers, his appearance provides an instant and uproarious contrast to Hyacinth’s exaggerated sense of refinement, sending the audience into fits of laughter.
Director Julie Huntington deserves immense credit for orchestrating such a well-paced, engaging production. Working within the confined space of the HAODS Studio, Huntington ensures that the stage never feels overcrowded, even with the physicality and movement demanded by the play.
Her direction allows the humor to shine through in every interaction, whether in Hyacinth’s grandiose speeches, Liz’s barely contained nerves, or Onslow’s laid-back retorts.
The beauty of Keeping Up Appearances—both in its original sitcom form and in this stage adaptation—is its ability to make audiences laugh while also offering a sharp observation of social pretension. Hyacinth’s desperate quest to be seen as a lady of standing is inherently tragicomic; we laugh at her, but at times, we can’t help but feel a little sorry for her.
She is a character trapped in her own fantasy, endlessly striving for an upper-class status that remains just out of reach.
As the production runs until Saturday, this is a must-see for fans of the sitcom and anyone who enjoys classic British humor brought to life with energy and authenticity. Caroline Hopkins’ performance alone makes it worth attending, as she not only pays homage to the Hyacinth Bucket we know and love but also makes the role her own.
For those who have fond memories of Keeping Up Appearances, this play serves as a wonderful reminder of why the show remains a beloved classic. And for those new to Hyacinth’s world, it provides an irresistible introduction to one of comedy’s greatest characters.
