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.
Whether you’re resistant or receptive to the main premise, there’s delight to be had in seeing a friskily rivalrous rapport form between the famous duo, even if we’re given little tangible sense of the wider Elizabethan world. Bolstered by a monumental lighting design that seems determined to dazzle the stalls, Gatwa has the preening swagger of a rock star, restless and agile. We’re not in the same territory of art-meets-life drollery as Shakespeare in Love, and compared to the sitcom Upstart Crow, there’s more artful wittering here than actual wit. But we’re intrigued nonetheless as “Kit” moves from condescension to quill-stroking fascination with Bluemel’s diligent, sensible genius from the sticks.
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.
| 2025 | West End |
West End |
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