Press Archive
“Brown’s compact, strong body agilely moves around the stage creating distinct characters for both brothers... in the plays most dramatic moments Theo actually metamorphoses into Vincent. It is a clever device created through the use of simple props and lighting which thoroughly succeeds because of the considerable talent of the uncannily, Van Gogh look-alike, Brown.” –Backstage, Jan. 17, 2003
“Brown does an admirable job of portraying the tortured Vincent, but his finest moments are as Theo, the grief-stricken yet defiant brother who defends and defines Vincent as an artist.”
–St. Petersburg Times
“Kudos to Scenic Artist Susie McIlwain for dividing the famous painting ‘Wheat Field with Ravens’ into four panels and using it as a backdrop.” –Tampa Weekly Planet
“The tears welling up in Brown’s eyes reveal the strength of this skillful actor’s emotions as he plays Theo.” –Tampa Tribune
“Brown gives a sensitive, intelligent performance...it’s beautifully thought out. When he transforms himself into Vincent, the play comes to life.” –St. Louis Post-Dispatch
“ F. Reed Brown is tremendous.” –Rolla Daily News
“F. Reed Brown carries off the role with great passion and intense sorrow...he bears a stunning physical resemblance to Van Gogh. It’s a successful evening and Brown does a moving job...
If you like Van Gogh you’d do well to see this production.” –KDHX, St. Louis
“VINCENT was outstanding...[Brown’s] talent and enthusiasm are remarkable!” –Executive Director, Mineral Area Council On The Arts
“F. Reed Brown brought his dazzling production to the Parkland this week...his one-man show
on the life of Vincent Van Gogh is a delightful production.” –Farmington Daily Journal
"Director F. Reed Brown provides vivid, scary images that make the material come alive on stage...it's all about the ensemble, and Brown moves them into place to excellent effect, with good commitment and chilling madness from his entire cast. Brown uses huge masks wielded by actors on stilts; performers peeping out of open pits on stage so that all we can see are their eyes and the tops of their heads; others who sit, completely in character, whimpering or drooling during most of the play..." –The Pantagraph (reviewing Marat/Sade)
"Director F. Reed Brown has staged this 'savvy, savage backstage comedy' with a sure hand and a sharp wit, and Anton in Show Business provides an engaging evening of thoughtful entertainment." –The Pantagraph
"The actor distorts his face and body as Treves describes him to us. It's a touch of virtuoso acting, particularly when done as well as F. Reed Brown, obviously capitalizing on his dance training, does it in the current production [of the Elephant Man]" – The Riverfront Times