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An Oak Tree
'Since your daughter's death I've not been much of a hypnotist.'
A man loses his daughter to a car accident. Nothing now is what it seems. It's like he's in a play - but he doesn't know the words or the moves.
The man who was driving the car is a stage hypnotist. Since the accident he's lost the power of suggestion. His act's a disaster. For him, everything now is exactly what it is. For the first time since the accident, these two men meet. They meet when the Father volunteers for the Hypnotist's act. And, this time, he really doesn't know the words or the moves...
An Oak Tree is a remarkable play for two actors. The Father, however, is played by a different actor - male or female - at each performance. They walk on stage having neither seen nor read a word of the play they're in...until they're in it. This is a breath-taking projection of a performance, given from one actor to another, from a hypnotist to their subject, from an audience to a person. An Oak Tree is a bold and absurdly comic play about loss, suggestion and the power of the mind.
An Oak Tree premiered at the Traverse Theatre, Edinburgh in August 2005.
A man loses his daughter to a car accident. Nothing now is what it seems. It's like he's in a play - but he doesn't know the words or the moves.
The man who was driving the car is a stage hypnotist. Since the accident he's lost the power of suggestion. His act's a disaster. For him, everything now is exactly what it is. For the first time since the accident, these two men meet. They meet when the Father volunteers for the Hypnotist's act. And, this time, he really doesn't know the words or the moves...
An Oak Tree is a remarkable play for two actors. The Father, however, is played by a different actor - male or female - at each performance. They walk on stage having neither seen nor read a word of the play they're in...until they're in it. This is a breath-taking projection of a performance, given from one actor to another, from a hypnotist to their subject, from an audience to a person. An Oak Tree is a bold and absurdly comic play about loss, suggestion and the power of the mind.
An Oak Tree premiered at the Traverse Theatre, Edinburgh in August 2005.
72 pages, Paperback
First published January 1, 2006
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Displaying 1 - 13 of 13 reviews
March 21, 2010
This is theatre as good as it gets. I saw it in 2008 and wrote:
In a Melbourne Festival with little to attract me in terms of theatre, I happened to stumble upon An Oak Tree by Tim Crouch. Yet another piece of theatre which managed to be structurally and technically different, and yet content and acting are important to it. How easily could this be doomed to be filed under failed novelty.
Tim Crouch plays one of two roles in the play. The other is taken on by an actor who knows nothing of the play until he steps onto the stage at its start. At that point everything he does is determined, not improvised. He is given a script, he has sound in his ear which occasionally directs him, the other actor tells him what to say. Blatantly, right in front of us. ‘Now you say “….”‘ and then the mystery guest actor says “….”.
One of the remarkable things about this play is that it makes it quite clear that we believe what we see in the theatre even though it flaunts its made-up nature in front of us. As an audience we were deeply moved by what was a harrowing story, while the actors all but said ‘hello, we are just pretending here’.
One doesn’t know whom the second actor will be until the play starts. The night I went it was Kim Gyngell. I couldn’t help feeling it was the perfect choice, but I dare say most audiences think that on the night. Approximately 250 actors have taken on the role, often women. In the Melbourne four night run, the other actors included Geoffrey Rush and Jane Turner.
At the end of the performance my companion and I hadn’t even left our seats and were already regretting that we could not see at least one more performance of it for contrast. Bravo Tim Crouch.
To this I will add, I don't altogether understand how this will work as a reading experience, but if you get the chance to see it, no excuses, go!
Oh yes, and this was an interesting point. Usually when you see a stage work you take it for granted that the actors will be perfect. Anything less is a talking point. 'Did you see Geoffrey Rush muff that...' Here, you barrack for the second actor. You can see they are as professional as actors get from the names of those who appear around the world and yet, if they made a 'mistake' - not knowing exactly what that might be in the context of this play - one would feel nothing but sympathy. This is another way in which we are entirely conscious that we are watching something 'made-up' by people 'pretending' and yet despite this, not for one moment are we anything but at one with the story, as in all good theatre.
In a Melbourne Festival with little to attract me in terms of theatre, I happened to stumble upon An Oak Tree by Tim Crouch. Yet another piece of theatre which managed to be structurally and technically different, and yet content and acting are important to it. How easily could this be doomed to be filed under failed novelty.
Tim Crouch plays one of two roles in the play. The other is taken on by an actor who knows nothing of the play until he steps onto the stage at its start. At that point everything he does is determined, not improvised. He is given a script, he has sound in his ear which occasionally directs him, the other actor tells him what to say. Blatantly, right in front of us. ‘Now you say “….”‘ and then the mystery guest actor says “….”.
One of the remarkable things about this play is that it makes it quite clear that we believe what we see in the theatre even though it flaunts its made-up nature in front of us. As an audience we were deeply moved by what was a harrowing story, while the actors all but said ‘hello, we are just pretending here’.
One doesn’t know whom the second actor will be until the play starts. The night I went it was Kim Gyngell. I couldn’t help feeling it was the perfect choice, but I dare say most audiences think that on the night. Approximately 250 actors have taken on the role, often women. In the Melbourne four night run, the other actors included Geoffrey Rush and Jane Turner.
At the end of the performance my companion and I hadn’t even left our seats and were already regretting that we could not see at least one more performance of it for contrast. Bravo Tim Crouch.
To this I will add, I don't altogether understand how this will work as a reading experience, but if you get the chance to see it, no excuses, go!
Oh yes, and this was an interesting point. Usually when you see a stage work you take it for granted that the actors will be perfect. Anything less is a talking point. 'Did you see Geoffrey Rush muff that...' Here, you barrack for the second actor. You can see they are as professional as actors get from the names of those who appear around the world and yet, if they made a 'mistake' - not knowing exactly what that might be in the context of this play - one would feel nothing but sympathy. This is another way in which we are entirely conscious that we are watching something 'made-up' by people 'pretending' and yet despite this, not for one moment are we anything but at one with the story, as in all good theatre.
October 16, 2025
I loved how much fun the play have with metatheatricality !
The "Note from Andy Smith" gives the impression to wait for the representation even if you are just a reader. The play is supposed to be about a father who lost his daughter and the man responsible for her death called, the Hypnotist. The actor playing the Father do not know or read the play in advance and is pretty much the toy of the Hypnotist. Thus, both persons on stage have a role that is in-between the traditional roles in theater ; the Father is both an actor and a spectator and the Hypnotist is both an actor and the stage director.
What it does to the concept of consent is very interesting; the actor playing the Father gave his consent to be ignorant of what is going to happen on stage and the Hypnotist constantly say, without the audience knowing, that he is doing great and that he can stop the play if he wants... Yet he dictates everything the Father does, including when he gives him cues in which the Father says that he does want to be here anymore. It feels very invasive when - technically - everything is consented to.
Finally, the end made me wondered if the plot about the death of Claire was really necessary. Was it an excuse to talk about theater ? Is it somehow still trying to say something about the denial of grief ?
The "Note from Andy Smith" gives the impression to wait for the representation even if you are just a reader. The play is supposed to be about a father who lost his daughter and the man responsible for her death called, the Hypnotist. The actor playing the Father do not know or read the play in advance and is pretty much the toy of the Hypnotist. Thus, both persons on stage have a role that is in-between the traditional roles in theater ; the Father is both an actor and a spectator and the Hypnotist is both an actor and the stage director.
What it does to the concept of consent is very interesting; the actor playing the Father gave his consent to be ignorant of what is going to happen on stage and the Hypnotist constantly say, without the audience knowing, that he is doing great and that he can stop the play if he wants... Yet he dictates everything the Father does, including when he gives him cues in which the Father says that he does want to be here anymore. It feels very invasive when - technically - everything is consented to.
Finally, the end made me wondered if the plot about the death of Claire was really necessary. Was it an excuse to talk about theater ? Is it somehow still trying to say something about the denial of grief ?
May 21, 2025
It's absurd how irredeemably bad this was -- I am genuinely at a loss. It is hands down the worst play I have ever seen. smh
And if Ruben Östlund wants to direct a parody about the theatre scene, he has ample material here. He wouldn't need to change a word.
And if Ruben Östlund wants to direct a parody about the theatre scene, he has ample material here. He wouldn't need to change a word.
October 17, 2025
chicooooos madre mía mi mayor recomendación de teatro.
este año tengo una asignatura de teatro contemporáneo británico y estoy dando saltos todos los miércoles cuando me toca ir. teníamos que leernos esta obra para la semana que viene y mind blowing de verdad leedla leedla!!!! pedidme el pdf si queréis pero leedla 10/10 me ha cambiado la manera de leer teatro
este año tengo una asignatura de teatro contemporáneo británico y estoy dando saltos todos los miércoles cuando me toca ir. teníamos que leernos esta obra para la semana que viene y mind blowing de verdad leedla leedla!!!! pedidme el pdf si queréis pero leedla 10/10 me ha cambiado la manera de leer teatro
May 17, 2022
The hypnotist has not been thesame since the accident that claimed the life of Claire, the daughter of the second character who sad,depressed and even confused kept returning to the scene of the incident.
Three (3) painful months go by and the second character(mostly addressed in the play as father) walks into the theatre to confront the hypnotist,who allegedly knocked his daughter down,this first meeting births the entire play as father who represents various minor characters is lured to take an unrehearsed role by the guilty hypnotist and together they give a free flow performance deserving of Oscars.
Tim Crouch employs two(2)characters to tell a compelling,magical,amusing yet tragic story in a manner so vague it keeps the reader bound and puzzled. The hypnotist exposes the secret of theatre by explicitly describing how a typical theatre operates, thereby ruining the mystery of it all but still does them anyway,so nonchalantly it is rather comical.
An oak tree is certainly not your regular play, set in a theatre or at least that is what Crouch makes us believe,it consist of eight(8)scenes which gradually unveils the ordeal of two grief-stricken men each in a quest for closure and relief in no coordinate order,whether the two characters found their peace in the end is most likely the question on every readers mind.
The playwright through this play reemphasizes the fact that man is a 'social animal' communication is as essential to his existence as the clothes he puts on,it is no wonder father pleads with the hypnotist to help him as he has being "depressed" and "thinking alot about suicide." The hypnotist on his path "honored old tickets" obviously so he could communicate.
An oak tree further denotes that,what is real or unreal,fact or fiction to us is most often than not determined by our state of mind, this explains father's actions throughout the play,especifically his carved tree and the hypnotist's stack of chairs audiences.
The writing technique is unique to a fault,creative and worthy of emulation no doubt but tricky nonetheless.However,what fascinates me about the play is the vivid application of imagery to the work which creates a mental picture that stays with the reader long after the book is dropped.
Personally,I'll rate this play 4of5 for how compelling and refreshing it is,a perfect work of illusion if you ask me.
If you appreciate conceptual modern works,then AN OAK TREE is for you.
Three (3) painful months go by and the second character(mostly addressed in the play as father) walks into the theatre to confront the hypnotist,who allegedly knocked his daughter down,this first meeting births the entire play as father who represents various minor characters is lured to take an unrehearsed role by the guilty hypnotist and together they give a free flow performance deserving of Oscars.
Tim Crouch employs two(2)characters to tell a compelling,magical,amusing yet tragic story in a manner so vague it keeps the reader bound and puzzled. The hypnotist exposes the secret of theatre by explicitly describing how a typical theatre operates, thereby ruining the mystery of it all but still does them anyway,so nonchalantly it is rather comical.
An oak tree is certainly not your regular play, set in a theatre or at least that is what Crouch makes us believe,it consist of eight(8)scenes which gradually unveils the ordeal of two grief-stricken men each in a quest for closure and relief in no coordinate order,whether the two characters found their peace in the end is most likely the question on every readers mind.
The playwright through this play reemphasizes the fact that man is a 'social animal' communication is as essential to his existence as the clothes he puts on,it is no wonder father pleads with the hypnotist to help him as he has being "depressed" and "thinking alot about suicide." The hypnotist on his path "honored old tickets" obviously so he could communicate.
An oak tree further denotes that,what is real or unreal,fact or fiction to us is most often than not determined by our state of mind, this explains father's actions throughout the play,especifically his carved tree and the hypnotist's stack of chairs audiences.
The writing technique is unique to a fault,creative and worthy of emulation no doubt but tricky nonetheless.However,what fascinates me about the play is the vivid application of imagery to the work which creates a mental picture that stays with the reader long after the book is dropped.
Personally,I'll rate this play 4of5 for how compelling and refreshing it is,a perfect work of illusion if you ask me.
If you appreciate conceptual modern works,then AN OAK TREE is for you.
February 14, 2024
"Oh, and she’s dead! You killed her! Think of her little body. Think of her poor mummy and daddy. Just driving along, were you? How does that make you feel? What do you wish you were? I bet you wish you were dead! Say it. What do you wish? You wish you were dead. Say: ‘I wish I was dead.’ SAY IT."
The first play I've read for a really long time that made me cry.
The first play I've read for a really long time that made me cry.
This entire review has been hidden because of spoilers.
December 27, 2024
A deconstruction of what it is to be in grief, in a play, human, and all else besides. This play must be seen, and ideally read too. If possible, do not read this before seeing it. There are many things to unpack in the work, and I would like to ruin as little as possible for any potential viewers/readers.
There is little (in theatre or elsewhere) that is as thought provoking.
There is little (in theatre or elsewhere) that is as thought provoking.
June 13, 2020
One of the most important contemporary plays I’ve both read and seen (which is a technical violation of its rules, though I did SEE it first at the Fringe...and then again, maybe three times, in LA). Have been privileged enough to meet Tim and take a masterclass with him, too. A true genius.
January 31, 2025
Technically amazing and I would like to see it, but somewhere I lost the plot in all the technical cleverness and am asking what is the writer's point in the drama. I can see that seeing it might change that but on the page it is very difficult to picture.
July 9, 2023
Nah not for me.
February 21, 2024
I think this one is the kind of play that is better seen than read.
September 13, 2025
I love it when tiny books make the walls of reality crumble
May 2, 2023
Intriguingly absurd, would recommend for fans of theatre about theatre.
Displaying 1 - 13 of 13 reviews