Vincent in Brixton Review: A Radiant Portrait of the Artist as a Young Romantic
Orange Tree theatre, London – Vincent van Gogh is depicted as a restless soul who discovers kinship, and possibly more, with his London landlady in this tender and full-hearted drama. The young artist spent a year in south London pursuing a fitful career as an art dealer, and historical speculation suggests he may have had a relationship with his landlady or her daughter. Nicholas Wright’s 2002 play vividly imagines this episode, and in Georgia Green’s sensitive production, it emerges as far more than a mere footnote from art history.
A Tale of Shared Misery and Alleviating Romance
Landlady Ursula, clinging to crow-black widow’s weeds, feels her life is over, while Vincent, brimming with misdirected energy, struggles to get his life started. In Wright’s compelling narrative, they share a mental perturbation, uncovering kinship in their misery, which blossoms into a romance that offers temporary relief. The snug Orange Tree stage perfectly suits Charlotte Henery’s intimate kitchen setting, designed for quiet confidences. The air turns savoury with the aroma of a Sunday roast, and Donato Wharton’s gentle sound design enhances the atmosphere with birdsong, pans puttering on the stove, and the rush of Vincent’s blood at his first kiss.
Stellar Performances Bring Depth to Troubled Characters
Jeroen Frank Kales portrays a pale and knobbly Vincent, whose maladroit candour almost overwhelms the space, constantly threatening to scatter the crockery. Initially, Niamh Cusack’s Ursula appears all steady competence, with hands moving swiftly over eggs and herbs, but she soon becomes drawn and twitchy. Cusack’s rich-layered voice transforms into a distraught murmuration, capturing the character’s inner turmoil. In an era before a diagnostic vocabulary for mental illness, Wright’s characters must find personal and poetic ways to describe their feelings, often falling into the darkness of their souls where wretchedness casts a thick fog in every corner.
A Play Brimful with Emotion and Non-Judgmental Insight
The play is brimful with troubling emotion, yet the writing remains wonderfully non-judgmental. Green’s cast delivers full-hearted performances, with excellent support from Rawaed Asde as the other lodger, who hides a ferment of doubt beneath his bonhomie. Ayesha Ostler plays Ursula’s vigilant daughter, and Amber van der Brugge is briskly abrasive as Vincent’s fervent young sister. The central relationship serves as a brief, radiant interlude before Ursula sinks into lassitude and Vincent becomes a man of sorrows.
This portrayal shows Van Gogh before he finds his vocation, with only intimations of the masterpieces to come, such as when he sketches his muddy boots lying askew on the kitchen table. However, Wright’s play is no rehashed biography; it is a feeling exploration of restless souls, offering a poignant glimpse into the artist’s formative years. At the Orange Tree theatre in London, this production runs until 18 April, inviting audiences to delve into this emotional and artistic journey.
