NEW ARTISTIC director Stephen Wrentmore gives us a hint of what is to come with his first production, Nicholas Wright’s award-winning play, which receives its Rep premiere at the Byre Theatre in St Andrews, writes Joy Watters.

The work won the 2003 Olivier Best New Play Award for its portrait of Van Gogh as a young man.

It shows Vincent as a 20-year-old lodging with what he described as a “very amusing family” in a free-thinking household in Brixton.

He was at that time working as an art dealer, before he began painting, but the influences in his later life are laid down in the writing which weaves fact and fiction to paint its picture.

Vincent wrote of his love for the daughter of the house but she loves another, an artisan who wants to be an artist as well.

Wright then posits the situation where Vincent transfers his emotions to the mother who becomes his muse.

It is a small scale work, fitting perfectly into the confines of the Byre, where the larger matters of life, love, and art are discussed.

Somewhat unfocused to begin with, the issues are tossed back and forwards in the kitchen where there is constant domestic activity.

Dutch actor Mark Van Eeuwen is outstanding as Vincent, capturing first the wonderful sense of freedom of a young man who has come to a liberal household from a strict Calvinist upbringing.

He also brings the naivity of youth with a series of outspoken remarks, marrying this with the arrogance of someone who senses they are on the threshold of an important career.

Although the famous paintings have not yet been executed they are hinted at in word and in the visual imagery.

The kitchen table, the chair, the boots that are seen on stage, are taken from Vincent’s work.

The famous starry night is referred to in Monika Nisbet’s intriguing design through the night sky above the interior of the house.

Vincent’s sister Anna (a beautifully judged performance by Sarah Manton) arrives, manically cleaning and interfering in the household full of secrets.

Domestic life unravels as the depression of the mother sets in when Vincent disappears.

While Jo Freer captures the appalling nature of the illness, unable to move or see beyond the darkness, she never really gets to grips with the inspirational side of the character.

The reasons for Vincent’s early idolisation of her are simply not clear.

It is not an easy piece of writing and there are occasional lulls which the direction has failed to overcome but it is nevertheless good to see challenging and new work being created on the Byre stage.

Vincent runs until July 17.