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Vincent van Gogh spent two distinct periods in London. He stayed for two years from 1873 to 1875 before returning briefly in 1876. During his first stay he lodged with Ursula Loyer and fell in love with her daughter, Eugénie, who rejected him. Nicholas Wright’s play Vincent in Brixton reimagines this episode, deepening it into a more intricate emotional entanglement for the young art dealer’s assistant who would later become one of the most celebrated artists of all time. The play presents Van Gogh as a blunt, almost gauche young man with a striking lack of social restraint. His speech is impulsive, unguarded, and at times painfully direct, yet this very openness lends him a disarming vulnerability. Wright uses this quality to explore the tension between naivety and perception, suggesting that the same emotional candour that isolates Vincent also sharpens his artistic vision. The result is a thoughtful meditation on the inner forces that would come to define both his work and his struggles, and this thematic depth is vividly realised through the production’s outstanding performances. Jeroen Frank Kales, playing Vincent, captures the restless physicality and emotional volatility of the young man, moving fluidly between awkwardness and intensity. His portrayal conveys not only Vincent’s social discomfort but also the fierce inner life that drives him, making his moments of connection all the more affecting. Niamh Cusack, as the older woman who becomes his mentor and muse, brings warmth, intelligence, and quiet authority to the role. Her finely judged performance balances compassion with restraint, creating a convincing emotional counterpoint to Vincent’s raw energy. Ursula's grief over the loss of her husband and her susceptibility to melancholy give their bond a depth that feels entirely credible, particularly given Vincent’s own emotional intensity and the psychological fragility that would later shape both his life and his art. Ayesha Otler as Eugénie, Rawaed Asde as the aspiring artist Sam Plowman, and Amber Van Der Brugge as Vincent’s sister Anna also deliver assured supporting performances, each contributing to the emotional texture of the piece without overstating their roles. As with many imaginative works based on real lives, the question arises of how far invention should go in reshaping known events. Wright handles this challenge skilfully in the first act, creating vividly realised characters in Vincent and Ursula, and establishing a convincing emotional world. The second act, however, feels less assured. Vincent’s departure from the Loyer household and his return in 1876 as a teacher and preacher seem abrupt and insufficiently motivated. His shift towards religious fervour is acknowledged but not fully explored, leaving a gap between the emotional groundwork laid earlier and the trajectory the play ultimately follows. Despite this unevenness however, the production remains deeply satisfying. It offers not only superb performances but also a thoughtful and humanising portrait of a figure too often reduced to myth. By focusing on the uncertainties and emotional intensity of Van Gogh’s early life, the play suggests that artistic genius is rarely born fully formed. Instead, it emerges through confusion, longing, and contradiction, making this portrayal all the more affecting and resonant.
Rated: ★★★★
Reviewed by J.C.
Photo by Johan Persson
When, Where, Getting there:
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