The Lady in the Van is a must-see

A valuable and indispensable cast member of the Lady in the Van was the van, lovingly created from a derelict vehicle by Don Paynter. Photo / Supplied

The Lady in the Van
Written by Alan Bennett
Directed by Kerry Girdwood
Presented by Whanganui Repertory Theatre
Thursday, August 25 (opening night)
Reviewed by Paul Brooks

See this play. Seriously, book your seat at Repertory Theatre and spend an evening in utter fascination and a lot more besides.

Some of you might have seen the film based on this play, which is itself based on the memoirs of Alan Bennett. See this play and get a whole new perspective on a very real 15 years of the author's life, during which time Mary Shepherd lived in her van in his front courtyard. It is a true story, probably, mostly.

Kerry Girdwood not only directs this play — and she has done a superb job — she also plays the part of Miss Shepherd. Perfect casting on her part. She shines in that grimy way that only Miss Shepherd can. She has loads of lines, cues and all the things that make a play complex, interesting and funny, and she executes it all with consummate skill.

Also part of the play is the author himself, Alan Bennett, played by two actors, Mike Pyefinch and Jimmy Sutcliffe. They are both on stage at the same time, with the older (and wiser) Alan (Mike) usually seated at the desk in his book-lined study, a manual typewriter in front of him, which he occasionally uses to good effect.

The other, younger Alan is the one who interacts with Miss Shepherd and the other characters, but the two Alans sometimes exchange dialogue with each other. It's not complicated: it works well. They are even dressed identically. The two Alans are ridiculously well cast. All three of the main characters require eloquence, a certain panache, and the ability to relate with each other and the audience at the same time. Mission accomplished. I really need Alan Bennett's vocabulary to do them justice.

Alan Bennett is well-read, witty, knowledgeable and not afraid to show it in his monologues and dialogue. Some things we, the audience will "get", some we won't, but when we do we're allowed to feel a little bit smug. Alan's vocabulary is large and colourful, entertaining in itself, as made evident in the opening monologue by the older Alan. He tells the story: the younger Alan lives it.

The story, roughly, and without giving too much away, is about Alan, living alone, and the beginning, middle and end of a long relationship with a vagrant woman whose van / home breaks down in his street and eventually parks up on his front yard.
Miss Shepherd is a character with a complex and often tragic story to tell, if she chooses to tell it, possibly. The words "possibly" and "probably" become catchphrases early in the play.

Alan's mother is also on the scene — until she's not — but the two Alans like to compare her with Miss Shepherd, but not in an obvious way. She, Mam, is played very well by Bev Pearce.

There are also neighbours, Rufus and Pauline, played by Murray Milne and Cathy Gribble, who both add to the variety of the street and the humour of the play. They're funny with word, gesture and facial expression and help move the play along nicely.

Of course, with a "challenged" person in the street there has to be a social worker — Polly Pyefinch — who confuses Alan with her identification of him as Miss Shepherd's caregiver and her constant detection of signs of animosity on his part. Polly does a great job.

There are other characters, including Underwood, played by Richard Hamblett, who is demanding something from Miss Shepherd, but we don't know what that is until the end. He plays the role with scary calm and the ability to jolt us out of our seats.
Dee Brough pops in as an interviewer and does it well, and there are appearances by Kieran Spence (ambulance driver and priest), MK Taylor (doctor) and Miss Shepherd's son, Leo, played by Christopher Stedman. All are seasoned players and do their jobs admirably.

And then there is the van. Lovingly built from a wreck by Don Paynter, it occupies a place on stage and in our hearts. It's a work of art and a fine prop, adding to the rest of an Alan Bennett-appropriate set.
There are sound effects, lighting effects, a well-executed wardrobe and more besides, all accomplished by a backstage crew of talent.
Seriously, see this play. You'll love it.

Alan - Have you put on the handbrake?
Miss S - I am about to do so
Alan - Whereupon she applies the handbrake with such determination that, like Excalibur, it can never afterwards be released.