The Lady In The Van - Old Mill Theatre

Reviewed by Kate O'Sullivan

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Alan Bennett’s The Lady in the Van is a curious mix of memoir, morality tale, and misfit comedy — and Old Mill Theatre’s production largely captures its spirit with warmth and intelligence, even if some executional choices hold it back from its full potential.

Central to the play’s narrative is the dual portrayal of Bennett: Alan the man (Peter Neaves) and Alan the writer/observer (David Cotgreave). This structure cleverly externalises Bennett’s inner monologue, allowing the audience to witness his reflective conversations with himself. Cotgreave shines in this role — his quiet but compelling presence lends authenticity to the introspective tone. He manages to blend into the background while still anchoring the action. Neaves, while engaging in parts, lacked consistent energy, at times dipping just when the script needed to push forward. There were also some technical inconsistencies — particularly a mismatched wig and accent — that weakened the believability of the dual Bennett concept.

Suzannah Churchman offers a standout performance as Miss Shepherd — capturing the character’s infuriating eccentricity and buried pathos with skill. She is both absurd and oddly dignified, and her moments of manipulation were delivered with subtle precision. Neale Patterson brings an unpredictable edge as Underwood, skilfully treading the line between threatening and charismatic. Julie Holmshaw as Mam delivered the kind of performance that lingers, quietly invasive and tonally well-pitched.

The ensemble also contributed well, though some staging choices limited their impact. Sharon Menzies and Nigel Goodwin, as the neighbours, suffered slightly from repetitive blocking. The majority of entrances and exits occurred from the same side of the stage, which, while perhaps a limitation of the space, created a distracting rhythm — a sense of characters merely walking on for a quick momentary conversation and then walking off again. This pattern detracted from the immersion and made some scenes feel formulaic.

The set, on the whole, was well done, especially from a paintwork perspective, and allowed for the easy transition between scenes inside and outside Bennett's home. The van — naturally, a core visual and thematic element — was cleverly realised and functioned well as the set's centrepiece. However, the illusion was occasionally compromised when cast or crew were visible getting in and out, a detail that could benefit from greater attention. Merri Ford’s costuming nicely spanned the fifteen-year timeline (1974–1989), adding period-specific detail that helped ground the scenes. On the other hand, the progression of time — a critical aspect of the story’s slow-burn tension — wasn’t always clear. While the lighting effectively guided focus, it could have done more to mark the years passing and the weight of Miss Shepherd’s prolonged stay.

Bennett’s script, as witty and insightful as it is, occasionally drags under its own reflective weight, especially in the second act. Still, the production manages to sustain interest through strong character work and thoughtful pacing, despite its more repetitive moments.

Overall, Old Mill Theatre’s The Lady in the Van is a heartfelt and considered rendition, with moments of genuine poignancy and humour. A touch more polish in its staging and a stronger synchrony between its dual protagonists would elevate it further, but as it stands, it’s a solid and thoughtful piece of theatre.

Reviewer Note: Kate has previously worked with members of this cast and crew. She has also performed on the Old Mill stage previously. Tickets for this review were provided by the theatre company.