This article reflects upon the objectives and process of a theatrical exploration of J.G. Ballard's 1973 novel, Crash. It identifies and considers initial impulses, rehearsal strategies and problems, the use of sound effects, the assembly of a physical choreography and the importance of the linguistic dimension of the production. This leads into a reading of the contrasting choices and problems of David Cronenberg's film version of the novel, with reference to Iain Sinclair's BFI monograph on this work. The article then emphasizes the important value of Kristin Linklater's vocal teachings on Shakespeare as a way into approaching expressionistic and poetic theatre texts such as that generated by the dramatist-director of this project. Finally, it reviews the project's shortcomings and terms of success, and its reverberations for what might be attempted in student drama and elsewhere.