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Mass DestructionGo see Timon, loserDAVE BARTONPublished on April 28, 2005If you could choose between a drama that was Karl Marx's favorite play—one that excoriated the wealthy, had some of the best one-liners ever written and featured full-frontal nudity—and a love story with fairies . . . well, as CIA director George Tenet would say about WMDs in Iraq, "It's a slam-dunk!" Aided by Lonnie Rafael Alcaraz's sharp, prison-like lighting design and Douglas-Scott Goheen's cold, monolithic scene designs, director Robert Cohen's concisely staged and streamlined adaptation plays so smoothly that it's hard to pinpoint exactly where the Bard's original ends and Cohen's handiwork begins. While the second half bogs down a bit from a surfeit of exposition, the trajectory of Timon's downfall—as well as the nagging feeling that it could happen to any of us—moves the piece forcefully to its electrifying ending. I could hope an audience would prefer the misanthropic, politically radical TimonofAthensover the crowd-pleasing inanity of, say, AMidsummerNight'sDream, but after years of theater as a patron, producer and critic, I just can't imagine there's a huge audience for this play aside from Shakespeare completists or students required to watch it for lit class credit. And that's a damn shame—but at least it leaves more Timonfor those of us who appreciate it. The rest of you can stay home where you belong: with your Friends.
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