Vincent, Leonard Nimoy’s adaptation of Phillip Sydney’s 1979 play, Van Gogh, explores the life of the renowned painter through the eyes of his brother, Theo. Based on over 500 letters, the play not only considers the troubled, darker aspects of Van Gogh’s life, it is also a story for our time: one that challenges us to consider the effects of our own modern-day reactions to those who are different; to those we admire yet decry when they do not behave in a ‘normal’ manner.  

Daniel Betty’s performance is mesmerizing as he skilfully holds his audience from his opening words through to the end. Betty’s pace is measured and controlled, and even in the most passionate moments his diction carries effortlessly; a remarkable feat for a 90-minute solo performance. Through a series of rhetorical addresses and asides, Betty weaves together a eulogy that is both haunting and fascinating. His transitions between character and voice work seamlessly; at no point do we not know who we are listening to. As with any memorial, there are moments of laughter, murmurs of assent from the audience, and tears of joy and despair. In many ways, this is as much Theo’s story as Vincent’s.

Lisa-Jane Easter’s set design is effective in its simplicity, enabling Betty to clearly delineate the brothers’ territory as he smoothly transitions from one to the other. The backdrop slides – images of Van Gogh’s sketches and paintings – neatly connect to the letters we are hearing from. Although a little hard to see at times, given the limitations of the intimate seating in this small theatre, Betty’s voice and command of the stage ensures their effectiveness is not lost on the audience.

Easter’s design even conveys a sense that this is a deliberate choice – wouldn’t we be looking to see around each other at any memorial service whilst listening to a reading? So, while at times not perfect, there is a realism to this staging that makes our connection to Betty’s determination to show us the Vincent that Theo (rather than the world) knew, that much stronger. 

This is an exceptional performance from Daniel Betty, one that needs to be seen and shared. While tonight’s performance at Keirunga is sold out there are still tickets available (at the time of writing) for those at the CHB Municipal Theatre, Waipukarau on Friday 26^th and the MTG, Napier on Saturday 27^th July. Both performances are from 7.30pm – 9pm. For those planning on seeing Saturday’s performance at the MTG there is the opportunity beforehand to join Glen Pickering and his IN focUS panel guests: Dr Anthony White (Senior Lecturer and Art Historian at Melbourne University), New Zealand artist, Grahame Sydney, and Freeman White for a discussion on Vincent, his life and works and the myths that surround this remarkable man. (Tickets are $20)

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Daniel Betty gives a superb performance of the play Vincent, written by Leonard Nimoy from letters exchanged between the two van Gogh brothers, Vincent and Theo.

The simple set on an open stage, with desk to one side and painter’s easel to the other, is an excellent way to define their separate lives. Betty transitions very smoothly from one to the other; his facial expressions, body language and use of voice leave the audience in no doubt which brother he is.

Lisa-Jane Easter must be congratulated not only for her inspired direction but also for the set design, sound and lighting. The latter is subtle yet effective in the beautiful Blyth Centre. Changing images on the screen give insight into Vincent van Gogh’s paintings and state of mind, while enhancing the atmosphere created by Betty.

The play opens our eyes to much of the sad story of Vincent van Gogh’s life. Along with periods of depression, he suffered with epilepsy – a condition not fully understood at the time. From a religious background, uncertain of both his direction and talent, van Gogh began his working life as a minister in a coal mining community. His passion for helping others later led him into a relationship frowned upon by his family. It was not until he was twenty-seven that he began to paint – sometimes finishing several paintings in one day. Betty credibly portrays the internal conflicts Vincent faced in an empathetic manner, clearly conveying that van Gogh’s life was always a search for love.

Although much of the content is serious, humour is interspersed with cleverly delivered, conspiratorial asides to the audience. Given the talent shown by Betty to sustain a solo piece for an hour and a quarter, while holding the audience spellbound for the entire performance, it is a shame there is only a single show. Congratulations to all those involved in this engaging interpretation of the life of van Gogh – consideration must surely be given to present further performances.

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