The Stables Theatre and Arts Centre
The Bourne, Hastings
East Sussex TN34 3BD
01424 423221
The Bourne, Hastings
East Sussex TN34 3BD
01424 423221
The Lady in the Van
By Alan Bennett
A Stables Theatre production
Directed by Michael Boakes
8–16 February 2008
Reviewed by Peter Mould
By Alan Bennett
A Stables Theatre production
Directed by Michael Boakes
8–16 February 2008
Reviewed by Peter Mould
Alan Bennett describes Miss Shepherd, the “Lady in the Van”, as a “bigoted, blinkered, cantankerous, devious, unforgiving, self-centred, rank, rude, car-mad cow”. In fact the outrageous Miss Shepherd is a trained concert pianist, ex-nun, ex-ambulance-driver and would-be Prime Minister. All this emerges as the month Bennett anticipated Miss Shepherd to be parked in his driveway becomes nearly two decades. Here is a woman who can suddenly announce that she has seen Nikita Khrushchev being kidnapped in a nearby street, or decide that she will form her own political party, move her van to Downing Street and hold Cabinet meetings inside it.
Central stage with Miss Shepherd are two Alan Bennetts: Alan Bennett the active participant in Miss Shepherd’s life, and another version who is looking back and telling us the story. The two Bennetts interact with each other, disagreeing, cooperating and arguing as the play unfolds. And what are Mr Bennett’s motives in becoming this cranky old woman’s unpaid landlord? Is he a saint or a less virtuous character, simply unable to say no to her presence or the support she demands? Bennett does not answer this question, but makes a telling comparison to the more limited care he provides for his own ailing mother in distant Yorkshire; this character, “Mam”, was brought to life in a finely observed performance from Norma Davies. The only relative of Miss Shepherd that we see is her brother, portrayed in a gentle, considered manner by Bob Falla.
The heartbeat of the play though was a bravura performance by Julia Dance as the odiferous Miss Shepherd, bedecked in a multitude of wonderfully eccentric and, at times, horribly stained garments. Whether delivering Bennett’s crackling one-liners or the more sensitive set-piece speeches, Dance had a delicate and sure touch, both funny and moving. She was in turn immaculately supported by Bill Allender and Mike Stoneham as the two Alan Bennetts—identical in dress, with authentic accent and intonation. With such strong central performances, an imaginative set that had van, house and office all on stage at once, and direction by Michael Boakes, the play was pure pleasure from beginning to end. Well chosen props reminded us of Miss Shepherd’s incontinence and detritus problems, adding to the reality and pathos of this funny but desperate account of a damaged woman and her battle to survive.
Central stage with Miss Shepherd are two Alan Bennetts: Alan Bennett the active participant in Miss Shepherd’s life, and another version who is looking back and telling us the story. The two Bennetts interact with each other, disagreeing, cooperating and arguing as the play unfolds. And what are Mr Bennett’s motives in becoming this cranky old woman’s unpaid landlord? Is he a saint or a less virtuous character, simply unable to say no to her presence or the support she demands? Bennett does not answer this question, but makes a telling comparison to the more limited care he provides for his own ailing mother in distant Yorkshire; this character, “Mam”, was brought to life in a finely observed performance from Norma Davies. The only relative of Miss Shepherd that we see is her brother, portrayed in a gentle, considered manner by Bob Falla.
The heartbeat of the play though was a bravura performance by Julia Dance as the odiferous Miss Shepherd, bedecked in a multitude of wonderfully eccentric and, at times, horribly stained garments. Whether delivering Bennett’s crackling one-liners or the more sensitive set-piece speeches, Dance had a delicate and sure touch, both funny and moving. She was in turn immaculately supported by Bill Allender and Mike Stoneham as the two Alan Bennetts—identical in dress, with authentic accent and intonation. With such strong central performances, an imaginative set that had van, house and office all on stage at once, and direction by Michael Boakes, the play was pure pleasure from beginning to end. Well chosen props reminded us of Miss Shepherd’s incontinence and detritus problems, adding to the reality and pathos of this funny but desperate account of a damaged woman and her battle to survive.
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Photographs > www.artypharty.com
A selection of production photographs from the 1950s to the present is available at our photographer Peter Mould’s website.
A selection of production photographs from the 1950s to the present is available at our photographer Peter Mould’s website.
