In these dangerous times, who will burn brightest — and who will burn out?
Winter 1591.
It is a dangerous time for artists: the country is full of conspiracy and paranoia.
In the backroom of a pub, writing sensations Kit Marlowe and Will Shakespeare are forced together in a creative union. Alone, with the table as their stage and battlefield, they sharpen their pens – and let their genius fly.
Across three secret meetings, the rivals duel and flirt like their lives depend on it – and with spies everywhere, betrayal is so tempting.
But this is Gatwa’s show. His boisterous Kit sweats in Zoë Thomas-Webb’s leather two-piece, his every lithe action a flirtation. He lunges towards Will first out of pure instinct, as something to shag, but he grows gentler, softened by his literary sparring partner. Beneath his restless exterior, he hides genuine admiration for his uncertain lover and unmistakable fear for the murky waters he has waded into.
Innuendos and double-entendres immediately settle in as a second language while they start to excavate the nature of poetry and espionage. They orbit each other with crackling charisma in an ambiguous limbo designed by Joanna Scotcher. Three walls of barn-door lights (Neil Austin) suspend the performance. Brief projection work tells us it’s 1591: Marlowe and Shakespeare, therefore, find themselves collaborating on the three parts of Henry VI between the threats posed by religious imbalance and the secret services. The social unrest of late-Tudor England is the foundation of the story.
| 2025 | West End |
West End |
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