There are numerous challenges in staging Timon of Athens, one of Shakespeare’s least produced works (perhaps not even performed during his own lifetime). It’s an invective-filled and disjointed morality tale, a story of a profligate spender let down by false friends who turns to excessive isolation and bitterness. Probably coauthored with Thomas Middleton, Timon is usually described as deficient in some way or as so odd as to defy categorization: words such as “baffling,” “curious,” “unfinished,” “abandoned,” and “mistake” populate major works of criticism. Even its place in the First Folio is dubious, as textual oddities arguably demonstrate it was not originally intended to be included among Shakespeare’s collected works.