Red Theater Presents AN OAK TREE Preview

(PTP) Please tell our readers about Red Theater’s mission and also how choosing to present this work fits into its charter

(AS) Red Theater has an aesthetic mission statement to "honor all audiences by asking dangerous questions theatrically" and a strong process statement that focuses on accessibility for everyone. It's difficult to talk about An Oak Tree's plot without giving too much away, but the play's playfully aggressive relationship to the audience and dedication to living courageously in the moment are emblematic of how we sprang from a small collective in Lincoln, NE to having five collectives spread across America. In casting the Second Actor for An Oak Tree, we sought out the best actors on Chicago stages, we sought out a group of people that reflected the city itself, people from many walks of life, and we sought out people who are often overlooked. Like all of our productions, An Oak Tree will have a free ASL interpreted night and a Touch Tour performance.

How do you prepare a show like this?

(GW) The preparation for this show has been multi-layered. All of their artists in the production have had to put on an "administrative hat" to make this work. Jeremy and I began casting the show as rehearsal started. Within the rehearsal process, we've operated between treating this has a traditional show, breaking down moments and intentions, finding the physical bones of the play in blocking, and text work. But we've also had to rehearse under the knowledge that there is a massive variable, the Second Actor. I think the work we've done, and will continue to do, allows the Second Actor to be instinctive and bring their talents and perspective into each individual performance.

Why is it better for the second actor not to be prepared?

(GW) Bringing a talented actor into a play with no information or given circumstances will hopefully strip away the idea of doing a play "right". We're very clear with our Second Actors that there is no right way to do the play. They can do no wrong. There is freedom to this performance experience.

The possibilities where each of these actors can go are as unique as they are. We talk about theater being temporary, or of the moment. This device makes that cliché an inevitability, which is truly thrilling.

What is the art of autosuggestion and how does it work in this play?

(JS) Autosuggestion is the act of implanting an idea into your subconscious that by design overrides your conscious mind. Theater always relies on the audience acceptance of its suggestions. In An Oak Tree we suggest things to the second actor but it’s up to them and the audience to place meaning on it. At the top of the show Gage describes the character the second actor plays, the physical description is merely a suggestion. The auto-suggestion is how the second actor sees and portrays themselves because of it. The mind is the eyes and the sight of theater. We rely on the imagination of the audience to make any play come to life. An Oak Tree highlights it.

Do you interact with the audience at all? Take suggestions or ask for audience participation?

(JS) Gage addresses the audience over the course of the play. And there is no fourth wall. The actors are as aware of the audience as the audience is aware of the actors. However, no one will be 'called on' or pulled onto the stage. And there’s no suggestions needed. The audience is not relied upon but they are necessary.

Who is the playwright? How did Red Theater become aware of their work?

(JA) The playwright, Tim Crouch is a British theatre maker, playwright, and actor. His work as a theatre maker started when he grew frustrated with the parts he was auditioning for as an actor. He wanted to make theatre that meant something to him.

Red Theater knew they wanted Gage and I to team up this year. We were all reading scripts that would be a good fit for us. I remembered hearing about Tim Crouch’s work from several people in my past as someone who I should become acquainted with. This play in particular was mentioned to me several times. That’s always a good sign.

I bought the script from Amazon and 48 hours after it had been delivered – I had read it, loved it, scanned it, emailed it to Gage, he read it, loved it, and we sent it to Aaron. It was clear right away that this was the play for us.

Why Now? Why Chicago?

(JA) Tim has taken this play all over the world to many countries including the U.S.A (NYC and LA). However, it’s never been to Chicago or the Midwest. It’s humbling to be able to present this work for the first time to a Chicago audience.

Chicago is a city rich with actors and we want to honor their work. The people we have pulled together to be a part of the show are people we’ve all admired across our city’s vast array of great theaters.

As people consume media on smaller and smaller devices, theater has an obligation to embrace what is inherently ‘theatrical’. We often preach that theater is about ‘living in the moment’ and ‘being present’ and yet frequently, we ignore the biggest elephant in the room, our audience. Now is the time to return to the forms of theater that embraced an audience. Now is the time to recreate theater for the 21st century. I believe Crouch’s An Oak Tree does just that.

What are the challenges?

(JA) There’s a new actor every night. And we want them to be free to follow their impulses. Defining how much we set and how much we leave open has been a constant examination. Setting stuff in stone helps us clarify the story but setting too much could prevent actors from making choices.

We’ve been working towards finding the best benchmarks in the play--moments that must happen in order to tell the story. And leaving things open in much of the rest. It’s been a fun experiment. People who have never seen or read the play are now coming in to rehearse the play with us. So we’re finally getting to see the myriad of possible choices.