Observing Vincent: In conversation with Deshik Vansadia, whose new play explores the life of Van Gogh

For many, the deep blue swirls depicting the night sky in ‘The Starry Night are the first encounter with Vincent Van Goghs masterful brushwork. That was the case with Deshik Vansadia too. After years of chasing the Dutch artists paintings in museums and galleries around the world, the actor and director of The Shakespeare Company of India will attempt to decode Van Goghs life, in a solo performance at Studio Tamaasha this month. Known for drawing inspiration from nature and elements in his immediate surroundings, Van Gogh is one of the most celebrated artists in the history of modern art. While he gained recognition only after his death, not many were aware of the artist in his tragic lifetime, during which he struggled with self-doubt, loneliness and failures as an artist. His letters to his brother, Theo Van Gogh, are considered to be the most comprehensive records of Vincents life. Vansadia will play Theo in the play. His production is based on American actor Leonard Nimoys play ‘Vincent, which is an adaptation of ‘Van Gogh by Philip Stevens. In conversation with Mid-Day Digital, Vansadia opens up about his beginnings in theatre, his admiration for Vincent Van Goghs works, and the challenges of doing a solo theatre performance. Could you tell us what inspired you to become an actor and about your initial years in theatre? I had seen a friend perform when I was in fifth grade. The audience loved him, they laughed, they cherished and the atmosphere was of a celebration. I knew right there and then that I wanted to do that. I also instinctively knew that Id be good at it. For me, the initial years were of two kindsone that started in my teenage years in Navsaris Gujarati theatre and the other in my 20s in Los Angeles. I still owe a lot that I know about the discipline of theatre and stage etiquette to my years of doing theatre in Navsari. That was heaven, an atmosphere of selfless passion and genuine excitement. Once I decided to pursue it professionally, I knew I had to be formally trained. Training at the Stella Adler Acting Studio and then doing theatre in Los Angeles was the rebirth. I learned the craft and depth of beauty that one can attain through the craft. I got cast as Romeo in a production of Romeo and Juliet in Los Angeles and that changed everything. I knew it in theory, but, for the first time I experienced that a play, a well written play – apart from being engaging and entertaining and also being a good platform to showcase talent – can actually change a person and their outlook on life. Deshik Vansadia during rehearsals of the play. Image courtesy: Deshik Vansadia Your earlier work mainly focused on Shakespeare. How did you go about conceptualising the upcoming play on Vincent Van Goghs life? Ever since I saw The Starry Night in a book of paintings during my days of doing Shakespeare at the Shakespeare & Co in Massachusetts, I became obsessed with Van Goghs work. I started chasing his paintings in different museums across the United States. Saw The Bedroom, Irises, many paintings of self-portraits and sunflowers and then I finally managed to go to The Museum of Modern Art in Manhattan to see The Starry Night. The colours were much richer than those in books or on the internet, the blue was more magical and deeper and the yellow moon still looked like a moon. The brush strokes were like wind. I realised I had tears in my eyes. I knew I had to do something creatively with his life and work. I wanted to serve Vincent and his work and not make it an acting vehicle for me. So I knew I wanted to play Theo and Vincent. I started looking for writers works. I discovered an old play named Van Gogh by Phillip Stephens. Then I found out that an actor named Nimoy Leanord adapted that play into playing Theo. I knew that was it. How is a solo performance different from other plays? Is there any process that you follow as an artist? It truly is a solo journey. This was my first time and it felt lonely, and scary too. You are working a lot by yourself and without feedback. I invited friends to see, but still nothing like working with actors and figuring things out together. But the bright side is, it feels more personal than any other play. It feels more responsible than other plays. Here, its all on me. I do have a process which starts with research and breakdown of the script. It begins there, and then comes playfulness. And then selecting what works and what doesnt. Its trial and error for the most part. What has playing Van Gogh taught you about the character? What references did you use to understand him? To love. To dedicate oneself. His favourite quote said, Man is not here only to be happy, or even be simply honest. He is here to realise great things, for humanity. To surpass the vulgarity of every individual. The references: 1. My young innocent self who did theatre for the pure joy of it. 2. A friend whom I met while working at a Shakespearean theatre company in Massachusetts. He is ever so full of passion and yet in the worlds eye, a failure. Highly misunderstood and indeed a difficult person and yet a passionate artist. 3. Van Gogh himself. His letters to his brother Theo are everything he was. A raw beauty, passion and love and reading the letters felt like spending time with him. Deshik Vansadia as Theo reflecting on Vincents life through the painting Cafe Terrace at Night. Image courtesy: Deshik Vansadia Does the play include elements that make it relevant to the Indian audience in terms of language or expression? I have simplified the language to make it more accessible, but in terms of the story, it is ultimately a struggling artists story. He battled lack of money, battled the world and more than any of the above he battled himself. I see this in all us artists. Living, working and hustling in Mumbai or any other metro cities. The play focuses on Vincents life through Theos eyes. What is it that has personally impacted you about the bond between the two brothers and their letters? The sheer love. To support a brother and whoever he chose to keep as company over 10 years is a rarity. Not just with money, but to be there for him emotionally, especially when he was not an easy character and always fierce in arguments and strong in opinions; and yet Theo was there for him in every way. It is unbelievable really. He died just six months after his brother. I do believe his grief of losing Vincent played a part. What are your observations on the publics interest in theatre performances in recent years? Their interest is the only thing that is saving the theatre. Theatre is impoverished and destitute. It was barely even professional and now after Covid-19, it is a real struggle. We lose actors to OTT platforms every day and they too must go to earn enough to support themselves and we have no financial support. In these times, it is the audience that sustains the theatre. They still come and attend in spite of screens dominating the storytelling world. Performance: Leonard Nimoys Vincent by Deshik Vansadia as Theo Venue: Studio Tamaasha, Andheri West Date: 28th and 29th May Time: 7 pm to 8 pm Price: Rs 200

Observing Vincent: In conversation with Deshik Vansadia, whose new play explores the life of Van Gogh

UNLOCK FULL ACCESS

Next Story : 1 in 2 Indians seeing ads based on private phone conversations: Survey

Mid-Day Web Stories

Mid-Day Web Stories

Chaos at Messi's GOAT tour in Kolkata as fans vandalise stadium

Minor garbage fire in Kalwa East brought under control, no injuries reported

PICS |Taylor Swift turns 36: Here 5 lesser-known facts about the American singer

Amy Schumer announces divorce from husband Chris Fischer, requests privacy

Hailee Steinfeld and Josh Allen announce pregnancy