Shakespeare’s obscure ‘Timon’ compelling at UCI

Tom Titus

Of all the plays in the Shakespearean canon, perhaps the most obscure

is “Timon of Athens,” a tragedy that went unproduced for many years

after the Bard’s death. It has long been regarded as an inferior,

unfinished work.

Robert Cohen, who has directed plays at UC Irvine for as long as

the university has existed, disagrees. In his adaptation -- now on

stage at UCI with the title shortened to “Timon” and played in modern

dress -- there is shattering power, most of it emanating from the

actor in the title role.

Shakespeare’s story is deceptively simple, bringing another of his

works (“King Lear”) to mind, though this play does not approach the

tragic majesty of “Lear.” His Timon is, quite literally, generous to

a fault. Having lavishly bestowed money and jewelry on his friends,

this gregarious benefactor finds himself surrounded by angry,

demanding creditors and forced to flee into the wilderness.

Paralleling Timon’s story is a subplot centered on Alcibiades, an

army captain who leads a murderous revolt against the rulers of

Athens. That the UCI production succeeds so powerfully as it does is

due in huge measure to the magnificent performance of Sean Tarrant as

Timon. The robust Alcibiades, an ally of Timon’s but rejected by him,

is superbly rendered by Rick Prigge in a ballistic, yet sensitive

portrayal. Kyra Zagorsky sensitively enacts Timon’s lone loyal

steward, whose heartfelt warnings go unheeded.

Omar Ricks as Apemantus, described as a “churlish philosopher,”

strikingly depicts the lone dissenter in Timon’s earlier circle --

sort of a Che to Tarrant’s Evita-like character. His verbal jousts

with Timon, both before and after the “crash,” are filled with

crackling wit and resonating dissonance. Laura A. Simms beautifully

depicts a beneficiary of Timon’s generosity who ultimately turns

against him.

Jake Dogias and Andrea Caban head the huge supporting cast as a

poet and painter, respectively, given to spells of plot-nourishing

dialogue. Timon’s staff members -- Sam Laakso, Talia Thiesfield, Heba

Saab and Nika Obydzinski -- try their utmost, but are overcome by his

fiery creditors -- Adrian Alita, Quinn VanAntwerp, Allison Case, Lisa

Schwartz, Lawrence Kao and Tina Tong.

Douglas-Scott Goheen’s stark, futuristic-looking setting and

Lonnie Rafael Alcaraz’s often-harsh lighting effects serve the

production splendidly, as do Shana Elizabeth Targosz’s striking

costumes. The all-encompassing sound effects by John Zalewski are a

particular enhancement.

Cohen’s production will broaden the horizons of most playgoers,

since few will be familiar with “Timon.” And, while not a perfect

play in the sense of “Hamlet” or “Lear,” it offers a soul-searing

experience for 21st century audiences.