She cuts as a believable figure and most of the supporting players - those portraying various Prime Ministers - meet the challenge she lays down. Harold Wilson is the only PM given the chance to develop a character; Cameron Rhodes flourishes in a performance that begins quirkily and descends movingly into heartbreak.
The other appearances are much briefer but are no less engaging. Ian Mune is commanding in a fleeting cameo as Winston Churchill while Hera Dunleavy gives a solid and captivating take as Margaret Thatcher. Both leave you wanting more and make up for Mark Wright's meanderingly accented Gordon Brown or Adam Gardiner's frustratingly fidgety David Cameron.
These performances are shaped by both script and the real-life figures they are impersonating, leaving little room for error. They strike me as being of a similar calibre to the West End original, which I saw thanks to National Theatre Live's global cinematic broadcasts.
Where the two works differ markedly is the creative decisions. Then, the set was understated and simple; Helen Mirren's costumes were changed on stage to prevent breaking the flow. It felt classy and professional and had a lasting impact.
Here, the set is dominated by the two looming paintings that restrict the action; there's a baffling lightning decision at the end of Act One that sees part of the audience blinded and forced to look away. Then there are continuous awkward pauses where Healey disappears off stage to change costumes whilst she is meant to be conversing with her younger self.
All those matters may go unnoticed by casual theatregoers and those unfamiliar with The Audience, who are likely to enjoy the speculative script firmed up by fine performances. Yet those in the know, or who expect more from our premier theatre company, will question why such amateurish decisions were allowed to hinder what should have been a truly regal success.
What: The Audience
Where & when: ASB Waterfront Theatre, until Thursday May 23
Reviewed by Ethan Sills