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There are many various possibilities of how to study ancient eras, cultures, and civilizations, and the most common of them are attending lectures and reading textbooks. It is difficult to disagree with the fact that these are also the most effective methods since scientists and researchers spend most of their lives studying epochs and writing their scientific works. However, in addition to analyzing the thoughts of great literary scholars, it is vital to receive information through some other ways.
Since the modern world requires modern approaches, some theater directors rethink the works of great writers of the past, remake their literary compositions, and present them in a new form. This is exactly what Simon Godwin did by directing the Timon of Athens show that I recently visited. The purpose of this paper is to provide information about that show and describe my emotions and reaction after watching it.
Despite the fact that I am not a huge admirer of contemporary art and modern interpretations, I decided to attend this very show because I wanted to give it a chance and try to change my opinion. Fortunately, this decision was not a mistake, and I did not regret spending my money on the ticket. The show took place on the 12th of March at the Shakespeare Theatre Company’s Michael R. Klein Theatre in Washington, DC. This production of Timon of Athens is a charming, electric, and explosive reload of Shakespeare’s work. In this exciting retelling of the original play, the role of Timon is played by a woman, Kathryn Hunter, and this is the most important change.
As soon as the performance began, I realized that the actors experience and show emotions not only with their voice but with their whole body. The wonderful choreography, every stretching of Timon’s hand, her gestures, and movements serve the text. I was surprised to the depths of my soul how phenomenally the actors know the language and meaning of Shakespeare, and this is shown in phrases, pauses, and accents that look like pure magic. Timon interacts with the audience with a look, words, and the slightest movements, and this creates a very warm effect.
The plot is divided into two parts: after being too generous, Timon runs out of money and discovers that her alleged friends are quickly abandoning her. With disgust, Timon leaves her fallen estate and sets up a camp in the desert, where politicians, her former friends, a group of rebels, and thieves come to her. As many people violate Timon’s loneliness, she challenges their selfishness while revealing her own philosophy about the best goals of humanity.
Continuing this journey, Timon convinces the audience that she is modest, kind, and generous, that she has a thirsty mind and soul, and tries to live an inner life separated from violence. Kathryn Hunter gives Timon a whole new dimension, enchanting energy, and a free child spirit.
Since the action takes place in a slightly futuristic and surreal Greece, stage and costume designer Soutra Gilmour rather skillfully manages some complex and carefully intricate scenes. She is pretty entertained with stunning outfits revealing aristocrats, and it is fair to mention that the costumes she designed are fantastic. Donald Holder, the lighting designer, plays with attractive neon shades, and then turns it all into a bright, bold light when Timon reflects on her disappointment in human nature. All of this made me rather emotional; I enjoyed all the parts of the play, noticed many details, admired the music, and changed my mind about not liking contemporary art.
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