Imagine sitting at a banquet table in ancient Athens. The synaesthetic opulence of the feast surrounds you . . . while the man seated beside you, who was once a beloved philanthropist, slowly descends into madness.
Dandelion Theatre is offering audiences just this experience with their bold new production of Timon of Athens, running from November 12 – 17 at The Theatre Centre’s BMO Incubator. Under the direction of Max Ackerman, the immersive production invites audiences to dine alongside the ill-fated Athenian nobleman, who turns from revered benefactor to embittered misanthrope when his so-called friends abandon him in his time of need.
Starring veteran actor Brian Smegal as Timon, this innovative production gives audiences a seat at the table as Shakespeare’s tragic tale of betrayal and rage unfolds around them. The cast also features boasts performances by James Llewellyn Evans as Apemantus, Ray Jacildo as Alcibiades, and Zubin Vincent as Flavius. Other key roles include Mo Zeighami as The Poet, Nicholas Eddie as The Painter, Chi-Chi Onuah as The Merchant, and Alexandra Milne as The Jeweller.
Ackerman, who has been juggling teaching and rehearsals, describes the experience of directing this Timon as both exhilarating and intense. “It’s a big play,” Ackerman notes, “and while it’s generally easy to block, the text is very dense, so we need to spend more time working through the scenes”. Indeed, when we connect a few weeks before the opening, Ackerman is focused on the intricacies of the text, which is the wellspring of both its deep challenges and rich rewards.
The play and production stand in stark contrast to Faustus, Ackerman’s last outing for Dandelion Theatre. In that more intimate and very different kind of morality play, “you fall in love with the flawed characters because of the beautiful poetry,” notes Ackerman. “In Timon, that’s not the case. The poetry is complicated and imperfect, which changes the vibe. You don’t fall in love with the characters in the same way – and that’s part of the different experience we’re trying to achieve.” This – coupled with the play’s deep engagement with capitalism – makes Timon “probably Shakespeare’s most contemporary-feeling play,” Ackerman notes. “Karl Marx wrote extensively about it, and the play is really an examination of relationships within a capitalist society. The characters are constantly selling themselves – whether that’s to each other, or to Timon. And when that transactional structure falls apart, what lies beneath is violence.”
This examination of fragile and expedient relationships drives the emotional heart of Ackerman’s production. “Timon isn’t a traditional hero; we don’t root for him, but we recognize him,” Ackerman continues. “His misanthropy, the glee he takes in it—it’s highly relatable. We all know someone like Timon: someone who can quickly switch into hatred and misanthropy, almost as if they’ve just been waiting for the chance to dive into that darkness.”
And what about the feast? “The idea of dining ties directly into Dandelion Theatre’s mandate – which includes sharing food as part of the experience,” explains Ackerman. “I was really inspired by Daniel Fish’s Oklahoma!. When I saw it, they served chili and cornbread during the picnic scene, and that immersion felt so natural. The audience relaxed and became part of the story, without feeling self-conscious.” And wIth Timon, the immersive dining element is more than a novelty or neat experience — it’s a thematic extension of one of the play’s central preoccupations. “This play is about consumption and overconsumption—Timon gives and gives, until there’s nothing left of him,” Ackerman explains. And “the audience is part of that consumption, which adds another layer to the experience. There’s also a fun twist in the second banquet that I won’t spoil – but it really plays into this idea of consumption and sacrifice.”
But how do Ackerman and the cast prepare for the unpredictability of an immersive experience, where each night brings the potential of a different audience dynamic? “I like to give my actors a lot of freedom,” notes Ackerman. “We work very collaboratively, and I tell them from the beginning that my blocking is just a suggestion. Once we get into the space, the audience will affect how they move and deliver their lines.” Ackerman and movement director Paige Foskett prepare the cast to adapt to the presence of the audience, while still maintaining the integrity of their characters – a collaborative approach that has yielded unexpected moments of discovery during rehearsals. “I’ve learned so much from the cast,” Ackerman enthuses. “Brian Smegal, who plays Timon, brings decades of experience, and his understanding of the text is incredible. I’m learning from him as much as I’m directing. And the whole cast is deeply invested in their characters, and they’ve been incredibly collaborative in shaping the world of the play.”
As opening night approaches, Ackerman finds himself eager to share with audiences this unconventional take on the rarely-mounted play: “Timon is not a play with beautiful moments like Hamlet or Lear,” Ackerman concedes. “It’s consistently gnarly and unpleasant.” But herein, he argues, lies its peculiar charm: “I think the play makes us recognize those elements in ourselves—the anger, the frustration, the ugliness—and it makes us appreciate the beauty in our lives that much more.”
With Timon of Athens, Ackerman and Dandelion Theatre are proud to serve up what promises to be memorable theatre. “Sharing that communal experience of grappling with difficult emotions and themes is something I’m really looking forward to,” says Ackerman. And with this innovative approach – which seasons Shakespeare’s tough text with contemporary thematic resonance, plus an immersive dining experience – audiences should really be able to sink their teeth into this production of Timon of Athens.
Join the banquet at Timon of Athens from November 12 – 17, 2024 at the Theatre Centre’s BMO Incubator. Visit theatrecentre.org to reserve a seat at the table.
© Arpita Ghosal, Sesaya Arts Magazine, 2024
