It
would be impossible to review this play in 2012, much less to do so in
this paper, without giving due consideration to its contemporary
resonances. Director Nicholas Hytner brings these out as deftly as
ever, with little more tweakage than the removal of a scene of subplot
and the decision to stage in modern dress.
We first see
le tout Athens
attending the opening of “The Timon Room” in a city gallery. It sets
the key for the first phase of the play, with the titular character
being fawned over by artists, individuals and civic dignitaries, and
being good-naturedly free with his largesse without any awareness that
he is giving away money he no longer has. The latter part of the first
half, in which Timon’s appeals for aid are rebuffed, sound keenly in a
capitalist world beyond the stage in which notions such as reciprocity
and trickle-down have been cruelly disproven in practice. In the second
half Hytner’s most significant change comes into its own. An earlier
scene in which the Athenian general Alcibiades is banished has been
excised; it now seems as if Alcibiades is leading not a military
challenge to Athens in revenge, but an uprising of the dispossessed.
(At this stage it would not be advisable to push the topical allusions
too far by inferring commentary upon the current Greek crisis.) The
very end of the play shows Alcibiades being assimilated by the existing
Athenian polity to give an appearance of “new broom” and cull only
those whom the state permits. Timon himself, meanwhile, has died
quietly offstage, having railed all he could in his new capacity as a
hermit in the wilderness (with a shopping trolley).
Simon Russell Beale, the British stage’s supreme articulator of
disgust, is perfectly suited to the central role, especially after
Timon’s disillusionment, when he devotes himself to inveighing against
all-comers. These include the bluntly cynical Apemantus, whom Hilton
McRae steers through some gratuitous early outbursts until his
head-to-head with latter-day Timon justifies the character’s inclusion.
Ciarán McMenamin’s Alcibiades leads a raggle-taggle of rebels, and the
fickle Athenians range from Tom Robertson’s nice-but-dim richo to Paul
Bentall as, here, the CEO of “Lucullan Capital”. It remains one of
Shakespeare’s most problematic plays, almost certainly co-written with
Thomas Middleton and quite possibly unfinished and unstaged in his
lifetime, but Hytner makes of it a trenchant play for today. Timon time
again, one might say.
Written for the Financial
Times.