Written by: Stephen St Clement
National Theatre (Olivier), London
****
Inspired by the economic
recession and last year’s London riots, this production of Timon of Athens is able to bring relevance and immediacy to one of
Shakespeare’s most difficult plays.
The play follows the rich and prosperous
Lord Timon, portrayed by the virtuosic Simon Russell Beale, as he treats the
high society of Athens to lavish banquets and extravagant gifts, believing that
he is winning their undying love and loyalty in the process. But when his
seemingly endless funds finally run out, not one of his many flatterers and
admirers answer his requests for help, forcing him to flee from the debt
collectors and into the dangerous wilderness outside of Athens.
The creative team of Nicholas
Hytner, Tim Hatley and Bruno Poet present their concept of the modern day
London as the play’s setting right from the opening image of protesters
gathered amongst clustered tents, reminiscent of the Occupy London movement
which began just over a year ago. Hatley (designer) and Poet (lighting) utilise
the Olivier’s technical abilities to great effect, presenting luxurious dining
halls and offices before conjuring up the ruptured husk of post-riot London.
As the guests arrive at the
opening of the play, I was struck by their almost pantomime vileness, in
particular Tom Robertson’s revoltingly ‘rah’ Ventidius. However, this seems a
purposeful device used by Hytner to highlight the placid innocence of Timon,
his crime being one not of arrogance, but rather of naivety; as one of his many
false friends, has it: “Every man has his fault, and honesty is his.” The
ensemble does great work in achieving this contrast; you could almost smell the
s**t they are shovelling – and, in one particular case, nearly eating.
Hilton McRae provides the best
support as the cynical philosopher Apemantus, letting fly at Timon with a
flurry of sardonic barbs that cut through the sycophantic fawning of the rest
like knife through butter. His exchange of insults with the newly destitute
Timon provides the most entertaining moment of the play, whilst reminding you of
just how funny Shakespeare can be when delivered by those who really know what
they’re doing.
As for the eponymous protagonist,
Simon Russell Beale shows himself to be a true master of the art. He stands
alongside Mark Rylance as one of the very finest Shakespearean performers of our
age, speaking that often-inaccessible language with an almost unbelievable
fluency and ease. Effortlessly entertaining in his delivery and physicality, he
holds the audience completely under his spell throughout, whilst seemingly
having the time of his life.
Hytner sacrifices some of the
play’s already limited narrative coherency in order to keep the focus fully on
the central performance by Beale, but it proves to be a wise compromise. Whilst
not a perfect allegory for our times, this pessimistic tale of one man’s
descent from generosity into misanthropy combines gravity with a lightness of
touch that leaves you feeling strangely elated and enlightened.
This production runs until 1 November 2012.
For more information: http://www.nationaltheatre.org.uk/shows/timon-of-athens
@NationalTheatre
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