Born With Teeth | Wyndham's Theatre

Born With Teeth, which is written by Liz Duffy Adams and directed by Daniel Evans, is a fictional historical play that explores the collaboration between the two Elizabethan writers, William Shakespeare (Edward Bluemel) and Christopher "Kit" Marlowe (Ncuti Gatwa), over the span of three years. The play shifts from being a meeting of intellectuals to a more pressing and political play that addresses the larger society, whilst maintaining an engaging and deeply entertaining shifting power dynamic. 

The play imagines a trilogy of plays being penned by the two writers over the span of three years (1591-1593), with the play being split into three acts; one for each of the meetings between them. Each act explores the tensions between the two writers, resulting in their contrasting personalities to constantly lead to them clashing in conflict. The power dynamics between the two writers change significantly between each act. Each with secrets to hide, and leading double lives, they grapple with one another to not only please their patron; but to appease the rising trouble that chases them. 

Liz Duffy Adams expertly navigates a script that not only has a strong premise, but continues to build on this "what if" collaboration between Marlowe and Shakespeare, and also places them in a historically accurate world filled with political turmoil. Adams further creates a solid script by paying homage to each writer, carefully lacing in their signature styles (Shakespeare's poetic verses and Marlowe's provocative edge) into a modern language. The script has the audience's heart racing and on the edge of their seats as the plot thickens at every turn, creating an irresistibly clever play. Adams' writing is made even more astoundingly brilliant by her use of humour and wit; not to mention bringing a queer lens to the play by flirting with the relationship between Shakespeare and Marlowe. Adams takes on three rather tricky subject matters, history, politics and literature and have blended them to create an arousing play that hits bullseye in each. Whether intention or otherwise, one could liken the two leads to Hamilton's 'Aaron Burr and Alexander Hamilton'.

The two hander play naturally requires two titans of theatre to live up to the high expectations and portray two of the most renowned historical figures. This is where Ncuti Gatwa and Edward Bluemel come in. The two performers are excellent, with an irresistible and undeniable chemistry that breathes life and fire into the play, setting every moment aflame. Their spark is instantaneous with their relationship painfully authentic. The two performers not only embody these historical figures to perfection, but also revel in their roles, making them their own. Gatwa and Bluemel tackle the hefty and fast paced dialogue well; delivering incredible and emotional performances that render audiences moved, shocked and deeply invested. 

Bluemel makes for a charming William Shakespeare. Bluemel strips back the finery and superiority often associated with Shakespeare and leaves him as a dedicated and humble young man. Determined to stand by his morals, provide for his family, to remain loyal to the crowd, beloved by the people, and remembered by history, Will's sincerity and good nature shines through the piece. Bluemel brings out Will's wide eyed innocence and his quick thinking that allows him to stay in the game, even turning it to his favour. Bluemel is gorgeous in the role, particularly so in the moments where he allows the rigidity of Will's morality to slip in the latter two acts of the play, wrenching a beautiful and emotional performance. Bluemel's desperation and freedom to be his true self in small fragments in the play, along with the vulnerability of his performance are a wonder to watch. 

Gatwa continues to prove himself to be one of the most captivating people to ever grace a stage. Gatwa's ability to completely command a stage is overwhelmingly strong, immediately charming the entire audience. The role of Marlowe feels as though it were written for Gatwa, with his signature sass, swagger and sexual tension oozing on stage in no small dosage. Gatwa's confidence allows for the character's comparison to a ferocious lion and a sneaky leopard apt. Gatwa's Marlowe is simply one of the best character portrayals to witness, especially the sheer distinction between each act as the character faces the inevitable consequences of his actions.

Daniel Evans' direction pulls out the tension from Adams' script, punctuating every pause with a significant silence. The script, which will doubtlessly have audiences pouring over the playtext or slowly dissecting in deep discussions later, is packed with multiple layers, each as rich as the other. Evans brings out every single nuance, ensuring that nothing is loss from page to stage, perhaps even elevating it through the on stage chemistry and performances by Gatwa and Bluemel. 

However, the play shrinks slightly in the disjointed nature of the three acts. Understandably much changes over a year (offstage between each act), yet these leave audiences having to slowly piece together the political and personal changes in each of the author's lives that have placed them where they are at the start of the following act. This does take audiences out of the play, scrambling to warm up to the sheer intensity that is sure to follow. Whilst this is but a minimal disruption and is quickly solved, it does present itself as a minor inconvenience in a play where the audience would rather be entirely immersed. 

Joanna Scotcher has opted for a minimalistic set, a large wooden table and two benches, and has instead focused on using costume detail to provide context to both the time period and the writers' place in it. Scotcher's costumes, are lovely on a first look, yet it's the detailing in the costumes that really demonstrates her brilliance. The two performers appear in a different ensemble in each act, yet with only small differences as their position in society elevates or slips away. Marlowe's initial costume, whilst of the time, also feels contemporary and provocative; a thread that continues as the layers are stripped away baring his soul. Shakespeare's costumes serve the opposite, slowly guarding his innocence allowing for him to mask his true emotions and enjoy being celebrated by the masses by adorning his physical accolades. 

Neil Austin has been granted free reign of the stage with lighting design, with huge lighting rigs forming the three back walls of the stage. A warm golden yellow glow is consistent throughout the piece, flooding the play in warmth and providing a grand scaling of the otherwise simple set. Spotlights are used sparingly throughout, but to great use when they are. George Dennis provides sound design, most notably used during scene transitions accompanying Andrzej Goulding's video design, creating an uneasy, thrilling and chilling atmosphere. Goulding's vision feels sinister and reminds one of a horror movie, with its black and white quick shots of close ups of Marlowe's teeth as he screams under torture. Only shown in quick and distressingly fast flashes, rather than providing a graphic sense of the pain, audiences are subjected to feel the horrific anguish and panic. These moments are hard to bear witness to and are attempts to leave one shaken, yet are fleeting and tremendously affective to effectively strike the seriousness of the political landscape. Ultimately more admiring of the technical elements, the scenes are overall enjoyable despite being a shock to the system.

Ira Mandela Siobhan, Keb McCurdy and Katherine Hardman (on behalf of EK Intimacy), all join together as movement, fight and intimacy directors to create the stimulating scenes. The play is merely an extended dialogue between Marlowe and Shakespeare, but this allows for the performers to really shake the script and bring out the character emotions. Gatwa leads this, making every calculated move feel spontaneous and sensual. A special shoutout to Gatwa leaping off the table and landing squarely on either side of Bluemel, with such grace and little effort. Whether Gatwa and Bluemel are fighting or making out, the passion is clear as the two performers are locked together as one, and lead to some of the play's best moments. 

Born With Teeth is anything but a straight play; with every line charged with a deeper meaning and a healthy dosage of sexual chemistry. The play makes an admirable West End Debut in its London premiere, with two of the finest performances in a play, a strong production and mighty script.

Born With Teeth is currently playing at the Wyndham's Theatre until 1st November 2025. 

Tickets and More Information

★★★★☆ (4*)

Gifted tickets in return for an honest review | Photography by Johan Persson