Vincent in Brixton Review: A Radiant Portrait of the Artist as a Young Romantic
At the Orange Tree theatre in London, a tender and full-hearted drama unfolds, imagining the young Vincent van Gogh's year in south London. Nicholas Wright's 2002 play, Vincent in Brixton, directed by Georgia Green, transforms a historical footnote into a poignant exploration of kinship and romance.
Van Gogh's London Episode
Before becoming one of art's most iconic figures, Vincent van Gogh spent a fitful year in London, working as an art dealer. The play speculates on a possible relationship with his landlady or her daughter, weaving a narrative that delves deep into the artist's restless soul.
In this production, Jeroen Frank Kales portrays Vincent as a pale and knobbly figure, his maladroit candour threatening to scatter the crockery in Charlotte Henery's snug kitchen setting. Opposite him, Niamh Cusack's Ursula, the landlady, initially appears as a model of steady competence, but soon reveals a twitchy, drawn vulnerability, her voice a rich-layered murmuration of distress.
A Kinship in Misery
Wright's play masterfully depicts two characters sharing a mental perturbation. Ursula, clinging to widow's weeds, feels her life is over, while Vincent struggles to start his. They find kinship in their misery, which blossoms into a romance that offers temporary alleviation.
The writing is wonderfully non-judgmental, allowing the characters to describe their feelings in personal and poetic terms, as they navigate the darkness of their souls. Donato Wharton's gentle sound design enhances the intimacy, with birdsong, pans puttering on the stove, and the rush of blood at a first kiss.
Supporting Cast and Emotional Depth
The play brims with troubling emotion, supported by full-hearted performances from the cast. Rawaed Asde excels as the other lodger, masking doubt with bonhomie, while Ayesha Ostler plays Ursula's vigilant daughter. Amber van der Brugge brings a brisk abrasiveness to Vincent's fervent young sister.
This relationship is a brief, radiant interlude before Ursula sinks into lassitude and Vincent becomes a man of sorrows. The production hints at Van Gogh's future works, such as when he sketches his muddy boots on the kitchen table, but it avoids being a rehashed biography.
A Feeling Exploration of Restless Souls
Vincent in Brixton is more than an art history lesson; it's a feeling exploration of restless souls finding connection. Georgia Green's direction ensures the play's emotional resonance shines through, making it a must-see at the Orange Tree theatre until 18 April.
