Timon of Athens (Th’Ungarded Duncan), at Theatre Works – theatre review

Life is a power game. Power rests with the wealthy. The more wealth, the greater the power. With the human condition, I dare say it has always been so. So, what would happen if the ultra-wealthy gave away their riches and became impoverished? Would their “friends”, who they showered with largesse, reciprocate or abandon them? These are the questions raised with searing consequences in one of Shakespeare’s lesser-known works, The Life of Tymon of Athens.

Often shortened to Timon of Athens, and written with English Jacobean playwright and poet Thomas Middleton in about 1606, the corrosive nature of money looms large. The focus is on generous Athenian aristocrat and philanthropist Timon who lavishes gifts and cash on his circle of friends. Suffice to say, Timon doesn’t keep tabs on what he gives away, and that includes his land holdings. He dismisses overtures from his loyal steward Flavius when Flavius tries to inform him of impending problems. And then it is too late.

It is left to Timon’s servants to appeal to Timon’s friends for assistance, but one after another they are dismissive. So it is that Timon turns into a bitter, misanthropic hermit, who curses humanity and lives in a cave. Th’Ungarded Duncan uses the Bard’s English, but has transposed the setting to modern times, where selfies and the paparazzi are ever present. This is physical, ensemble-based theatre, in which many characters fill multiple roles.

The opening is impactful. Timon is lying prone on a long restaurant table that is covered by a crisp, white tablecloth. Suddenly, hands reach out. All want a piece of him. It cries “gimme, gimme, gimme”. Most impressive is Jovanna Hepburn, who delivers a natural performance as Timon, lurching from generous to a fault to deeply disillusioned.

In Elizabethan and Jacobean England, women were legally and socially banned from acting on the public stage. Female characters were played by adolescent boys whose voices hadn’t broken, or by younger men. In this production, directed by Kevin Hopkins and Claire Nicholls, women play men. As Flavius, Helen Hopkins is suitably protective, but unable to prevent Timon from his inevitable fate.

James Cerche is happy snapper Apemantus, a cynical, abrasive philosopher, not afraid of calling out Timon’s recklessness. Scott Jackson brings over the top buffoonery to his representation of Lucius, one of Timon’s fair-weather friends. Everything form a rave to a slow-motion battle sequence is included in this potent representation of a soulless society. Sharp lighting cues and dramatic music also have important parts to play. Some glittery and lavish costuming doesn’t go without notice either.

While familiarity with old English would certainly be beneficial, the tenor of the offering is unmistakable. In our cost-of-living crisis, which appears to be getting worse by the day, Timon of Athens seems especially relevant. When the well is dry, how does one draw blood from a stone? Eighty minutes without interval, Timon of Athens is on at Theatre Works’ Explosives Factory until 7th November, 2026.

Alex First

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