‘a rich fusion of creative nous that adds layers of colour’
Writer-Actor Joseph Winder’s choice to collaborate with Director Alex King results in a rich fusion of creative nous that adds layers of colour in the latest evolution of his one-man show and its exploration of grief.
On 27th July 1890, Vincent van Gogh went out for a walk. Later the same day he stumbled into a bar on the outskirts of town and collapsed. He had shot himself in the chest. Some 36 hours later, having slipped into a coma, he passed away.
At Eternity’s Gate – the title of one of his works also known as Sorrowing Old Man, is an exploration of how Theo, his younger brother and closest friend, spent the next 24 hours.
For anyone unfamiliar with the background, it would be easy to assume that this was a play about the life of Vincent van Gogh; In a similar vein, it would be easy for those familiar with events to question why the narrative is not focused on Theo’s wife, Johanna. Although the context is provided early in the performance, and rightfully at other points during the play, it is perhaps too subtle and easily missed for the uninitiated, and whilst the programme does provide the necessary clarity, it was not available immediately prior to the performance. It’s a minor point but an important one to ensure that everybody gets off on the right foot.
King’s staging was impressive with a canvas spread across the floor, littered with the letters that Vincent and Theo regularly exchanged, whilst an easel stood hauntingly empty. It’s all about the little details so whether that be an artist’s smock or the wheatsheaves that featured in so many of Vincent’s work, these clever touches place us instantaneously in the atelier or the subject of a painting whether it be a field or a bar, with the complimentary lighting arrangement capturing the starry sky amongst many other things. With technical support from Gareth Farley, a well-considered sound design augmented this sense of place throughout, with mood further enhanced with the balance of melodic music at just the right moments.
The grief cycle is a complicated process that follows no pattern or rule; it emerges when it suits itself despite one’s mood, and Winder’s writing and performance reflected those nuances perfectly and the oscillations that beat so unevenly, with good use of the performance space. If I was to be critical, the performance felt on occasion a little too polished and whilst vocally Winder captured the wave of emotions rolling over Theo throughout, I would have liked some more physicality in those odd moments of anger and rage to make me jump out of my seat.
There is a delicate balance when joyful and humorous memories come to the fore, and for a moment appear to wash over the grief, that Winder portrayed equally well and with great sensitivity, all of which resonated strongly with my own experiences.
This is an important piece of work: it’s original for a start and handles a complex topic with care and compassion, and it’s pleasing to see such a moving piece of theatre being brought to life, so much credit to all involved from the individuals to the companies to the venue itself.
There was an engaging and informative Q&A with Winder and King after this performance which I understand will be repeated following the performance on 11th June 2026.
The production has been generously supported by The Jacob Billington Trust. Founded in 2007 in memory of Jacob Billlngotn, the trust’s aim is to raise funds for the benefit of young people, specifically to assist funding for young people’s music education. To learn more about their work and/or to make a donation then please visit https://www.jacobbillingtontrust.com/
At Eternity’s Gate performs at The Hope Street Theatre through to 13th June 2026. Further details and booking Ticket Quarter – At Eternity’s Gate
Review Date: 10th June 2026
Star Rating: FOUR