Timeless, infectious, heart-warming... these are just a few of the countless adjectives one could use to describe Victoria Wood’s ingenious encapsulation of stereotypically down-to-earth, working-class Lancastrian life.

The original television show witnessed unprecedented success when it first graced our screens in 1998, accompanying a decade of sitcoms depicting irreverent snapshots of northern existence. But as with all of Wood’s work, dinnerladies had something different: a spark of humility, perhaps; a tone of tenderness.

Fans certainly won’t be disappointed by David Graham’s adaptation of some of the best-loved TV scripts, including the flourishing romance between Bren and Tony, and Stan’s dad’s death.

The stage adaptation allows for an exchange of quicker and sharper dialogue, and the cast successfully emulate their on-screen counterparts to perfection in the show’s second visit to the Theatre Royal.

Tasmin Heatley is barely distinguishable from Julie Walters as Bren’s extraordinary mother, Petula. Her mere stage presence provides an uproarious reception from the audience, and her ridiculousness presents an elusive fine line between vile and endearing.

One of the major assets of the original show is that all 16 episodes filmed for the BBC were performed in front of an audience. Wood’s move from beloved TV show to successful stage production was never too problematic.

That is not to say that the show does not offer something for those less acquainted with the script and characters. The social interactions and relationships between the middle-aged women are vividly realistic and instantly recognisable, and that is partly why the humour works so well.

The continuous innuendos come close to the point of predictability, but when followed with dry and faultlessly timed comebacks, they become accessible and joyous, one highlight being when Tony asks Jane whether she would like “a bottle of wine and hot sex” rather than her usual round of toast, at which she answers, “I can’t, I’ve got cystitis”.

Coronation Street and Shameless favourite Sue Devaney is delightful as Jane, although original TV cast members Andrew Dunn and Devaney together verge on becoming unavoidably type-cast, and the newer elements of the show provide fresher perspectives than old favourites.

One example would be the superb young Shakespearean actress Roya Amiri as the hopeless yet loveable Anita. The cast’s desperation to fill the shoes of their screen equivalents leave some of the performances lacking imagination, but will have ultimately pleased faithful fans.

The themes and execution of the show are unpretentious, if unchallenging, meaning it is always going to be popular with an audience looking for a night of heart-warming characters and accessible gags. The preoccupation with sexual innuendo is directed at a certain target audience and may be lost on some younger theatregoers, but the ultimate package becomes just as endearing as a mug of Bren’s northern brew.

dinnerladies, York Theatre Royal, until Saturday. Box office: 01904 623568.