Mar 2009

Jun 2009

Vincent in Brixton

Director Max Lewendel
Written By Nicholas Wright
A co-production with Original Theatre Company in association with South Hill Park Arts Centre and Anvil Arts

Winner of the 2003 Olivier Award for best new play, this great show wrenches home the destructive qualities of both love and art and the sacrifices made by those who create it.

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About

Inspiration found in the most unusual corners.

The year is 1873. A young art dealer called Vincent Van Gogh arrives at 87 Hackford Road in Brixton looking for a room and looking for love. As Vincent settles in to his new lodging he finds himself inexplicably drawn to his grieving landlady Ursula with whom he starts a turbulent, secret relationship that will change his life forever.

Set in a working, authentic kitchen the smells, sights and sounds of life in 87 Hackford Road are brought vividly to life, immersing the audience in a truly extraordinary theatrical experience. The play wrenches home the destructive power of love and art and the sacrifices made by those who create it. The play begins as a straight-forward love story, and as the allusions between life at 87 Hackford Road and art intensify, this story turns this into a tragic parable about the ruthless flame of art consuming all in its path.

The Cast

Creative Team

Director/Co-Producer: Max Lewendel
Producer: Alastair Whatley
Asst. Producer: Fanos Xenofos
Asst. Director: Bethany Pitts
Set Design: Christopher Hone
Costume Design: Fiona Davis
Sound Design: Matt Downing
Lighting Design: Alan Valentine
Assoc. Director: Rosa Wyatt
Stage Manager: Rob Martin
ASM: Caroline Saunders
Photographer: Jack Ladenberg

Cast:

Ursula: Lin Blakley
Vincent: Mark Edel-Hunt
Sam: Alastair Whatley
Eugenie: Amy Ellen Richardson, Emma Vane
Anna: Nicola Sangster

Neil McEwan

"If this is what comes from flying too close to the sun,

then long may they continue"

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Marketing Information

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What does our Community say?

Read our reviews over 22 productions

Trial of Galileo

RemoteGoat

★★★★★
"Icarus Theatre fly into London on waxen wings, which, after this compelling production, show no sign of melting any time soon, A fine production, and a fantastic example of a writer and performer at the top of their game".

How to be a Bad Girl

Deadline News

★★★★
"Chap's cheeky, witty and bold personality shines through as she sings the stories of her own life, and sometimes others - all with wonderful vocal ability and tone that excites and engages the mixed crowd that packed in to the room to see her."
Lucy Samson

Macbeth

Carrick Biz

★★★★
"Five Stars alone are due to the designers of the simple set and the expressive mood-setting lighting and sound. You'll find out what a bane-moon looks like."
David Kerr

Hamlet

Review Sphere

[Their] adaptation truly had rebranded Hamlet for the Game of Thrones age. It was daring and experimental and often risky, but it worked and proved that it is indeed a living and ever fluid piece of literature"
Caroline Malcolm Boulton

Trial of Galileo

RemoteGoat

"Icarus Theatre fly into London on waxen wings, which, after this compelling production, show no sign of melting any time soon, A fine production, and a fantastic example of a writer and performer at the top of their game".

How to be a Bad Girl

Deadline News

"Chap's cheeky, witty and bold personality shines through as she sings the stories of her own life, and sometimes others - all with wonderful vocal ability and tone that excites and engages the mixed crowd that packed in to the room to see her." Lucy Samson

Macbeth

Carrick Biz

"Five Stars alone are due to the designers of the simple set and the expressive mood-setting lighting and sound. You'll find out what a bane-moon looks like." David Kerr

Hamlet

Review Sphere

Icarus Theatre Collective's adaptation truly had rebranded Hamlet for the Game of Thrones age. It was daring and experimental and often risky, but it worked and proved that it is indeed a living and ever fluid piece of literature." Caroline Malcolm Boulton

Many Roads to Paradise

Uk Theatre Web

★★★★★
"For many reason this play should be seen by everyone. Drama students and theatre-lovers alike will applaud fine acting by the strongest of casts, you would pay a lot of money in the West End for a class act like this"
Gene David Kirk

Journeys End

The Public Reviews

★★★★
"Journey’s End’ is very much an ensemble piece and it would be difficult and probably rather unfair to pick out one actor over another. Each and every performance is consummately delivered." Steve Burbridge

At the Mountains of Madness

Ija Pona

★★★★★
"We were treated to a show that was true to the H. P. Lovecraft original and made the hair stand up on the back of my neck. I experienced frisson during last night."

Romeo & Juliet

British Theatre Guide

★★★★
Max Lewendel’s careful direction makes perfect sense of the tricky text, finding as much humour as possible in the early comic scenes. He keeps his actors on the move, each with purpose and justified intention.
Helen Brown

Many Roads to Paradise

Uk Theatre Web

★★★★★
"For many reason this play should be seen by everyone. Drama students and theatre-lovers alike will applaud fine acting by the strongest of casts, you would pay a lot of money in the West End for a class act like this"
Gene David Kirk

Journeys End

The Public Reviews

★★★★
"Journey’s End’ is very much an ensemble piece and it would be difficult and probably rather unfair to pick out one actor over another. Each and every performance is consummately delivered." Steve Burbridge

At the Mountains of Madness

Ija Pona

★★★★★
"We were treated to a show that was true to the H. P. Lovecraft original and made the hair stand up on the back of my neck. I experienced frisson during last night."

Romeo & Juliet

British Theatre Guide

★★★★
Max Lewendel’s careful direction makes perfect sense of the tricky text, finding as much humour as possible in the early comic scenes. He keeps his actors on the move, each with purpose and justified intention.
Helen Brown