Interview: 'It’s Honest, Human, and Free of Judgement': Actor Jeroen Frank Kales on Making His Stage Debut as Vincent van Gogh in VINCENT IN BRIXTON

Orange Tree Theatre is about to open a revival of Nicholas Wright’s Olivier Award-winning Vincent in Brixton. Starring Jeroen Frank Kales as the titular Vincent van Gogh and Niamh Cusack as Ursula, the play tells the story of when a young van Gogh took lodging in a boarding house in South London, which leads to the transformation of those living there. 

BroadwayWorld spoke with actor Jeroen Frank Kales about taking on the titular role of Vincent van Gogh in Vincent in Brixton. We discussed what made him want to be a part of this production, how it has been making his professional stage debut at the Orange Tree Theatre and even his own relationship with Vincent van Gogh.

So starting with a bit of a general question, how did you first get started in the world of theatre?

Well, I didn’t start acting until I was about to turn 22. At the time, I was playing basketball at a Division 1 junior college in Louisiana, but during my freshman year, I broke my foot, which ended my season. With the unexpected free time, I began taking extracurricular classes, one of which was acting.

I still remember the first day. I walked into the theatre and felt something I’d never experienced before, an overwhelming urge to get on stage, to play and to express myself freely. It was such a strong emotional reaction that I changed my major from business to theatre that very same day. It felt like a switch had been flipped. Not long after, I was fortunate to receive a theatre scholarship. 

After graduating, during Covid, I moved to LA to pursue acting, but my visa meant I couldn’t stay long. I decided to apply for BA Acting programmes, both to properly hone my craft and to secure a visa that would allow me to continue training in either London or New York. After applying to several schools, I chose Mountview, which has given me a platform to grow and experience theatre in a way I’m deeply grateful for.

And what made you want to be a part of this production of Vincent in Brixton?

They actually approached me, as I assume they were looking for a Dutch redhead! I was still in my third year at the time. I did an initial reading and then didn’t hear anything for about five months, so I assumed that ship had sailed. I ended up booking another job that would have taken me out for a year, but just a few days later, I was offered Vincent. I had to make a choice. It wasn’t easy, but I knew this was where my heart was. It was an opportunity I couldn’t pass up. The chance to play opposite Niamh Cusack and work with the brilliant Georgia Green was incredibly exciting. More than that, the piece really resonates with me on a personal level. I felt it would allow me to express my artistic voice through a character that I really understood, culturally and emotionally. 

Funny side note, I took painting classes as a kid at the Van Gogh Museum, which made it ever the funnier when I first got in touch with the play!

Can you tell us a bit about Vincent in Brixton and the role of Vincent? 

I think the beautiful thing about Vincent in this play is that he grows from an immature, bright-eyed fellow to a mature, understanding adult and finishes the play as a bit of a “warhoofd,” an obsessive, wild soul. Because he's foreign, he comes into an environment that he doesn't necessarily understand - the English diplomacy and the way people interact with each other are so different for him, something I strongly relate to.

He comes into this new environment and is forced to change through rejection, love, and a deeper understanding of his own sorrow through the connection he has with Ursula. This allows him to find his own artistic voice and his meaning in life. His expression isn't coming from a wanting to express - it's a need to express. Which is exactly what I relate to, because that's what I felt when I walked into that theatre in Louisiana for the first time. It was like, “I have to do this, and there is nothing that's going to change or stop me from doing that.”

And what has your process been like of becoming this character, this version of Vincent van Gogh?

The main thing for me was to read as much as I could. I had about seven months to prepare, so I immersed myself in as much material as possible, reading a lot, visiting museums to see the paintings in person, and having long conversations with my brother, who works at the Van Gogh Museum. It was especially meaningful to read Vincent’s words in Dutch. It gave me a deeper, more truthful understanding of him than I think I could have reached through translation - his voice resonated differently because it’s my mother tongue. Which is a privilege in the process of preparation I hadn’t experienced before. 

The other part of the process is how you personally connect to the material. For me, that comes through finding parallels in my own life - what helps me understand Vincent on a visceral, rather than purely intellectual, level. You can know everything about a character, but ultimately, you have to feel them. That’s what brings the work to life for me, connecting to their heart and understanding their need in a more intimate way.

And with this journey, what is it like to be making your professional stage debut at the Orange Tree Theatre?

Amazing. I couldn’t have asked for a better place or creative team to make my debut with. The Orange Tree creates exactly the kind of work I aspire to be part of: intimate, raw, and deeply touching. It’s all about the relationships and the intimacy at its core. Being on stage with Niamh Cusack has also been incredibly special. She brings such generosity and warmth into the room, and that spirit has made the whole process feel so warm, collaborative and uplifting.

What do you hope audiences take away from Vincent in Brixton?

Almost everyone I’ve spoken to asks, “Are you cutting off your ear?” But the beauty of this story is that it shows Vincent before his mental illness took hold. It shines a light on who he was, rather than reducing him to that one chapter of his life, which, in many ways, feels unfair.

People who go through incredibly difficult experiences carry that weight with them, and it can manifest in different ways. What I really hope audiences take away is the purity of his soul - his deep desire to belong, and to be accepted for who he truly is.

Secondly, as Vincent says in the play, “No woman is old as long as she loves and is loved.” Ursula’s role in the story highlights the beauty of truly seeing someone, their soul and their pain, and the intimacy that creates. It speaks to a kind of love that transcends age, appearance, and any external expectations. Especially now, when so much of life is filtered through screens and curated versions of reality, this story feels like a reminder of what’s real. That’s part of why I’ve chosen to stay away from social media. It can create a false sense of connection. What Vincent and Ursula share is the opposite of that. It’s honest, human, and free of judgement.

And finally, how would you describe Vincent in Brixton in one word?

Alive.