Tim Crouch - An Oak Tree - Photo by Greg Goodale

Tim Crouch: An Oak Tree

Tim Crouch - An Oak Tree - Photo by Greg GoodaleEvery so often, a play comes along that changes the way that I think about theatre, and to me, that is one of the most exciting experiences of all. Having read but not seen Tim Crouch’s previous work, I came to An Oak Tree full of excitement but relatively unsure of what to expect; I knew that this was a ten year revival, that the premise hinged on a man losing his daughter and’ finding’ her again somehow in a tree, and that it would in all probability be stylistically innovative and experimental in nature. This in itself was enough to pique my interest, but the real joy in this production was its sheer theatricality. By interrogating and exposing the very nature of theatre and performance, Crouch has created a work that is vivid, fascinating and somehow, quite magical.

Our protagonist is simply The ‘Father’. As a result of his daughter’s death, his reality is turned on its head: he is suddenly starring in a play without a script or directions. As too is the actor who plays him; a new performer each show is briefed beforehand but has no script, rehearsal or direction, and can be of any adult age and gender. This device adds a layer of intrigue and, importantly, risk to the piece that makes it one of the most absorbing experiences that I have encountered. In this performance, Aoife Duffin took the role, bringing a focus and gravity to the character that communicated his complex feelings entirely believably despite her contrasting physical appearance and the technical challenges of the text’s frequently flipping between character and actor.

Crouch himself inhabits the second role – the disturbing Hypnotist who accidentally ran over the Father’s child (as well as ‘playing’ himself, as an amiable performer who gives Duffin instructions and encourages her throughout the performance). The Hypnotist has struggled with the aftermath of the child’s death; for him, magic has gone and all that is left is a failing show. The Father attends the Hypnotists’ show, looking for answers and setting the stage for an inevitable, and incredibly absorbing confrontation.  Whole theses could be written about the layers in this piece; like bark, as one is stripped away, another is revealed. The communal nature of theatre, the role of audience as voyeur or spectator and the transformative nature of theatre are all explored in stunning detail, but my lasting impression is of a piece throbbing with raw human emotion and bursting with big ideas.

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About Sarah Davies

Sarah is a Drama Lecturer (UAL Acting and Applied Drama), Freelance Writer, Facilitator and Improviser who has written for Total Theatre Magazine since 2011. Recent work includes play commissions from Theatre Centre, Menagerie Theatre and Now Press Play, and facilitation/directing for The Marlowe Theatre, All The World's a Stage and Improv Gym. Her recent improv performances include Mount Olymprov (Greece) with Big Bang Improv Boston, Amsterdam Improv Marathon,and Improfest (London).