A loving father has lost a daughter: while returning home and listening to music in headphones, she was hit by a car. The father is sure: his deceased daughter has now become a tree on the side of that road.
Imagine now that you are this father.
Director Ilya Moschitsky invites a volunteer from the audience to the stage and offers to act out the performance together. Who is that person now — someone who came to an evening of entertainment, or a character in a play? An independent subject or a puppet in the hands of the director, merely relaying the text provided to it?
We are used to a performance being a series of planned episodes, scenes, provocations and dialogues. The actors always know everything beforehand and only portray spontaneous reactions. Michael Craig Martin's Oak is a return to the beginning, an attempt to perform a show on the first try, adapting and overcoming new circumstances on the go. But this spontaneous try is exactly the way to expose the theatre's shameless manipulation.