The performance of Nichola McAuliffe as a malodorous, cantankerous tramp is the most compelling feature of Hull Truck’s gripping revival of Alan Bennett’s 1999 National Theatre hit The Lady in the Van. Theatregoers are advised to catch this remarkable display of virtuosity.

Though Bennett himself has employed the word ‘tramp’, it is, in fact, a misnomer when applied to Miss Shepherd, since she was very far from itinerant. While she spoke of travel to such places as Bodmin, St Albans and Staines, her home remained a van parked in Camden Town. Initially, it was beside the kerb in Gloucester Crescent; later, after the painting of double yellow lines, it moved to the front garden of Bennett’s house. The van (actually vans) remained for 15 years. Miss Shepherd died in the cramped, faeces-encrusted interior of the last one in 1989.

Unlikely subject for drama though she might appear, Miss Shepherd’s interest lies in her very battiness — her mind warped by religious (specifically Roman Catholic) mania and, possibly, thwarted musical ambition — and the mystery about her earlier life that persists almost to the end of the play. She was, oddly, snooty and right wing, even favouring Mrs Thatcher which was not much done in this right-on neighbourhood. She was selfish and ungrateful, with never a thank you for all that was done for her — mainly by the remarkably patient Bennett.

So why tolerate her? That she was ideal material for a writer who had already cornered the market in old ladies — “You wanted something to write about” — is explained by and to Bennett during the play. Yes, there are two Bennetts on stage, both splendidly portrayed — one by James Holmes who largely functions as narrator; the other by Paul Kemp who acts out various episodes in Miss Shepherd’s strange story. Some involve two good-sort neighbours (Emma Gregory and Benedict Sandiford) and others feature a pleased-with-herself social worker (Tina Gambe) who is comically addicted to the jargon of her profession.

The presence of a commentator also permits a searching analysis of Bennett’s attitude to his own ailing mother (Fiz Marcus). Her steady journey into the twilight world already occupied by Miss Shepherd lends poignancy to the drama, even as Mam’s obsessive curiosity about the lavatory arrangements of her son’s strange guest supplies some of its very welcome comedy.

The play is expertly directed by Sarah Esdaile and features highly realistic sets from Ben Stones, which show us two of Miss Shepherd’s four-wheeled residences, as well as her Robin Reliant ‘second home’.

Until Saturday For tickets: telephone 01865 305305 (www.oxfordplayhouse.com).