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.
Ultimately what Born with Teeth suffers from the most is asking us to imagine a sex and paranoia crazed Elizabethan society while not actually showing it to us. At one point Marlowe is literally lecturing Shakespeare with a diagram about how patronage works, but it might have been easier to picture if we ever saw the outside world. Fair enough, that’s not the play Duffy wrote. But I can’t help but feel she probably had a more expansive vision that she squashed down for the sake of crafting a cost effective celebrity vehicle. The final act tries to pivot to tragedy, but it’s all based on off stage politicking that it’s hard to invest in.
The most interesting sections – at least if you care about Shakespeare – are those which probe the differences between the two writers. Marlowe insists on inserting his own bold personality and controversial beliefs into every line he wrote while Shakespeare’s instinct is to disappear, to lose himself in every character. The moment when the two men act out Shakepeare’s inserted scene in Henry VI showing the love between a husband and wife is remarkably tender. The play’s concluding note, that Shakespeare consistently wrote Marlowe (who died in a tavern brawl in 1593 at the age of 29) back to life is intriguing.
| 2025 | West End |
West End |
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