The National Theatre has produced Shakespeare’s Timon of Athens as part of the London 2012 Festival and, as with the BBC’s Shakespearean offerings, has provided a lot of extra material that makes the play more accessible. In the Olivier Exhibition Space The Making of Timon has been produced in association with the British Museum, who is also holding an exhibition of its own – Shakespeare: staging the world. The National’s exhibition covers both the world that Shakespeare was writing in and the processes involved in the making of the new production.
While the section on Shakespeare’s world was interesting, what really caught my attention was the part of the exhibition focussing on the National Theatre’s production. It was fascinating to see how props were constructed, the designs for the set, as well as rehearsal schedules and annotated scripts. It was also interesting to hear from those involved in different capacities in the production and see their perspectives on the play and their jobs.
National Theatre programmes are always informative and good value, but the Timon programme is particularly good. There is an article by Peter Holland on the play, an extract from Simon Russel Beale on acting Shakespeare and a collection of views on Timon from contributors including Karl Marx. All were helpful, not presuming that you already know anything but not dumbing-down either.
While I have nothing but praise for the content accompanying the production, I have to admit that I was less taken with the performance itself. I found it all a bit soulless and emotionless. Perhaps the play’s focus on materialism, and the shallowness of the characters’ lives and friendships, made this inevitable. I’m not sure that the problems I had aren’t intrinsic to the play; none of the characters are especially likeable and there isn’t really much action. The National’s production, set in the modern period, was nicely designed with minimal but expensive-looking sets and Simon Russel Beale did give a good performance as Timon, with the presence to carry the production.
I think that more theatres should follow the National Theatre’s example in providing extra support material for their productions. The Globe is also very good at this, and always has excellent articles in its programmes. As someone who has only been attending the theatre for a few years, and is eager to learn more about the productions I see, I am always grateful for informative programmes. Programmes and exhibitions such as the National’s are invaluable in ensuring that everyone in the audience gets as much from the performance as they can.