This might appear similar to 'Elvis Presley is believed to be living in Sovereign Harbour!' But like many 'did you know' statements the first one in this instance is as true as the second is ludicrous.
The play Vincent in Brixton, by Nicholas Wright, was first staged at the National Theatre in 2002.
This performance by the Original Theatre Company, skilfully directed by Max Lewendel, is a not-to-be-missed treat.
In 1873, aged 20, Van Gogh came from Holland to work in London and took lodgings in Brixton with a family called Loyer.
Based on Vincent's surviving letters to his younger brother, Theo, Wright imagines what might have happened to the rawboned young artist pulled in different directions by love, religion, and burgeoning talent.
Set in an authentic Victorian kitchen, inspiringly lit to represent the changing seasons over two years, and incidental piano music suggesting the instrument is being played in another room, the secrets and lies of this progressive middle-class household are laid bare.
Mark Edel-Hunt, as the youthful red-headed Vincent and a dead ringer for the real Vincent in his Portrait de l'artiste sans barbe (sold at Christie's in 1998 for $71.5 million), sensitively displays the mood swings and passion associated with Van Gogh throughout his life.
Initially in love with his landlady's pretty daughter, Eugenie (Emma Vane), it is her widowed mother, Ursula, exquisitely portrayed by Lin Blakley, who becomes the object of his desire.
Two kindred spirits seeking affection, one gauche and naive, one middle-aged and unfulfilled, are the essence of this moving play.
Alastair Whatley is effective as down-to-earth Sam, another aspiring-artist lodger in this intelligent, enthralling production, and Nicola Sangster is Vincent's puritanical sister, Anna, amusingly out of her depth in suburban London.