Theatre from a strikingly fresh perspective is offered by this production. Not only is the audience seated on the stage, facing out for an unfamiliar view of the auditorium, but the performance itself whirls along cleverly using a stack of unadorned rostra from which the all-important bicycle, as well as surprising and sometimes challenging technical effects, can emerge.

All of this of course provides a focus for a thoroughly engaging vintage Mark Hadlow in a solo performance. The play is cued by a friendship from the cycling world of the earlier Cooper play Mamil, but determinedly extends into the unappetising territory of old age. To match its poignancy with constant humour, shot through with frank reality, adds up to a complex challenge.

It is Wayne, one of the earlier peloton, whose reaction to a fatal accident sets up the conversations and memories that shape the play. A range of encounters for an angrily depressive Wayne, now without his cycling buddy as well as his life partner Maggie, gives rein to Hadlow’s gloriously expressive and comedic skills.

Vivid cameos come thick and fast. An endlessly patient Scottish psychotherapist, mischievously nicknamed ‘Taggart’ by Wayne, is nicely contrasted with an Aussie salesman for retirement village Fairhaven Glen. This ‘end of life production line’ is seen as a solution by son Keith who seems to live out the classic Phillip Larkin quote about parents and the way they set up their offspring. Suddenly, the hilarious takes on a new poignancy as that trail is developed with a side helping of adventures involving a new bicycle and a Polish/Romanian coach. One very busy actor furnishes all these characters and ideas.

The resolution is happily positive, albeit reached by way of a wandering script, sometimes leaving us uncertain as to where we’re at on the road. There is no doubt at all, though, about the riveting physical and vocal skills brought to the experience by veteran Hadlow. His dogged, knees akimbo riding neatly exemplifies the life advice to ‘keep moving’ and ‘enjoy the view’.

The opening night audience, many of whom would have seen him as a middle-aged man in lycra ten years ago at The Court Theatre, found plenty to applaud in the grumpy old one on offer. A standing ovation said it all.

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A fast-paced and at times wordy script addresses the issues of aging with a hefty dose of painfully embarrassing stereotypical humour. Some how Mark Hadlow, in his inimical style, brings out the pathos of a man suffering guilt and regret, and begging for forgiveness.

Underscoring the stock tropes of race, culture, relationships, age, counselling and the horrors of retirement villages, is Wayne’s story. Wayne is the typical New Zealand boomer dad; a grizzled, morose curmudgeon. A character straight out of a Roger Hall comedy: comic and pathetic at the same time.

Hadlow makes us believe in Wayne. In his love for his wife of 49 years and her sudden death. In his often uncommunicative relationship with his biking buddies. We are desperate for him to make up with his only son Keith. We long for him to open up to his Scottish counsellor. We thirst for him to tell us what happened after he had a panic attack on a bike ride with his friend Brian. This is the stuff of theatre.

It is delivered to us through a series of cheap tricks. Making fun of the Scots counsellor, snide comments about ‘kids’, the archetypical rest home manager, the philosophical gym attendant, driving a Tesla and taking the mickey out of lawn bowls.

Luckily for us the pathos wins out. The moving finale of a man who finally finds contentment in Fairhaven Glen retirement village and who gains forgiveness from his friend Brian, allows us to forgive some of the more jarring humour. Humour that belongs in the past.

This is a slick production of sound, lighting and stage set. Haddon is in his element in 80 minutes of polished delivery. He gets to grip with a multitude of characters, switching deftly from one to the other. He is quick-silver in his timing and responds skilfully to changes of place and time.

His audience are quick to show their appreciation. They laugh at the sharp one-liners but they know enough about the inevitable approach of old age not to get too complacent. After all, it is coming to us all sometime soon.

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