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We won’t bombard you, but we’ll make sure you don’t miss anything.
An Oak Tree has enjoyed an amazing run at the National Theatre Temporary Space. Feedback from critics, audiences and second actors has been overwhelming. Here are some of the press and blog reviews:
Caryl Churchill described Tim Crouch’s two-hander as “a play about theatre, a magic trick, a laugh and a vivid experience of grief, and it spoils you for a while for other plays”. She’s right, but An Oak Tree doesn’t so much spoil other theatre as offer a different manifestation of magic, one that doesn’t pretend to expunge the differences between art and life but draws attention to them. It circles elegantly around ideas of presence and absence, the real and the representational, doubt and certainty, even time itself.
…this is performative language in action
An Oak Tree isn’t a cold art experiment, but a piece of theatre underpinned by a wide-eyed desire to explore art, a genuine desire to entertain an audience, and a powerful reverence for the sanctity of grief.
It’s fair to say that some will find the enterprise too coolly cerebral or merely a hollow exercise. Crouch pre-empts such criticism by puckishly observing that his 75-minute piece is “thinly plotted” and “contrived”. But its artifice is knowing and provocative, and the slightly jarring cleverness is matched by real emotional density.
…this is no mere intellectual exercise. Crouch’s bold formal experimentation is in service of an empathetic tale suffused with grief.
Theatre, we know, is make-believe. Yet as Tim Crouch’s extraordinary two-person show reminds us, life is make-believe too. There is what’s real, and there is how we describe it. All the world’s a stage, as some other playwright put it.
I often think of theatre as a magician’s trick: we delight in the transformations, but we want to know the secrets of how it’s done. The real magic comes from knowing that it’s not magic at all. Crouch gets that. He lays it bare, riffs on it.
There are moments in Tim Crouch’s An Oak Tree…that’ll make your stomach twist and your heart race. There are also moments which will make your bum squirm and your heart freeze over.
An Oak Tree is an un-missable piece of experimental theatre, in which the blurred boundaries of both theatre and acting are pushed to their limit in this intricate story of loss and suggestion.
At the time of writing, An Oak Tree is coming to the end of a triumphant, near to capacity run at the Temporary Space at the National Theatre. But there are a few more chances to catch this tenth anniversary production:
It’s at The Traverse Theatre for a limited run at the Edinburgh Fringe from 9 – 16 August, Bristol Old Vic from 15-19 September, and Warwick Arts Centre from 17-19 November.
Book now to avoid disappointment!
Read the reviews from the London run.
An Oak Tree opened ten years ago. To celebrate, there’s a run at the National Theatre in London from 23 June – 11 July. For more details, and to book, see here.
Thursday 25 June, 2-5pm
£20 (£15 concessions)
With An Oak Tree playing at the National Theatre, this seminar is a great opportunity to explore Tim’s work.
This session gives an insight into his work past and present, his interest in form, narrative content, audience engagement and his working methods. Chaired by Dan Rebellato (Head of Drama and Theatre at Royal Holloway, University of London) in conversation with Tim and his long-time collaborators Andy Smith and Karl James.