Greed is always topical and whenever Shakespeare’s satire on a money-grabbing society is revived, the critics invariably say how apposite it is; but it has never been popular, at least not since the early 18th century. The drama, raw and unfinished, is an Aesopian fable and it usually works best in modern dress. There have been excellent and witty productions in the past by Michael Langham and Trevor Nunn.
Nicholas Hytner’s revival gets off to a good start. The opening scene is set in a modern art gallery dominated by a huge reproduction of El Greco’s Christ Driving the Money Changers from the Temple. Timon’s reckless generosity and bounty is so ostentatious that he is as disgusting as the parasites and sycophants who buzz round him. He is amazed when none of them comes to his rescue when he finds himself in financial difficulties. His transformation from philanthropy to misanthropy is instant. The high spot is when he takes a revolting revenge and invites all his so-called friends to a banquet and serves them with dishes of excrement.
Timon then goes into exile and becomes a bore. Simon Russell Beale, who had been very impressive up to the interval, doesn’t make enough of the Lear-like tirades against mankind’s inhumanity and ingratitude and his sparring with Apemantus (Hilton McCrae), the cynical philosopher, a professional misanthrope, also goes for less than it might.
Timon of Athens is, apart from two prostitutes, an all-male play, yet another bugbear for actresses, who have recently been complaining that there are not enough roles for them. Hytner’s production addresses the problem by changing six of the male characters into females. Only one of the roles is noticeably diminished.