For centuries, literary scholars have debated whether Christopher “Kit” Marlowe, the rebellious 16th-century playwright, secretly had a hand in shaping some of William Shakespeare’s greatest works. Liz Duffy Adams’ Born With Teeth, now playing at Wyndham’s Theatre, takes that theory a step further, imagining not just a creative partnership but a simmering erotic tension between the two men as they collaborate over three years on Shakespeare’s Henry VI trilogy. The result is a sharp, witty and occasionally riveting piece of historical fiction but it doesn’t quite deliver the full bite its premise promises.
The play begins in 1591, at a time of political paranoia and religious persecution. Rebel playwright Kit Marlowe (Ncuti Gatwa), under suspicion of atheism and espionage, seeks to collaborate with rising star William Shakespeare (Edward Bluemel). They meet in the private back room of a pub, hoping that their partnership might enhance their reputations and fortunes. Over the occasional drink, they exchange ideas, insults and provocations. Their conversations are full of barbed wit, swagger and flashes of tenderness, shifting between intellectual sparring and emotional vulnerability.
Gatwa and Bluemel deliver performances that are consistently compelling. Edward Bluemel’s Shakespeare is grounded and deliberate, portraying a man whose ambition is tempered by his caution. Ncuti Gatwa, meanwhile, embodies Marlowe with flamboyant charm and restless energy, his rebellious streak balanced by moments of vulnerability. The chemistry between the two actors is strong, generating tension that operates on different levels of creative rivalry, ideological conflict and romantic possibility.
Liz Duffy Adams’ script is dense and multi-layered, part historical speculation, part romantic drama. Her dialogue cleverly blends period and modern language, peppered with references and lines borrowed from various Shakespearean plays. However, the play occasionally suffers from its own cleverness, at times veering toward being overly wordy which slowed down the momentum of the play. I also wasn’t entirely convinced by the romantic subplot between the two playwrights. While it added to the tension and emotional stakes between the two men, it felt underdeveloped and lacked the gradual build that would have made their romantic connection more believable.
With only two characters in a single room, the play could easily feel stagnant, and at times it does, however director Daniel Evans does well to keep the production’s pace and energy high even when some very intellectual subjects are discussed. The play’s tonal shifts move seamlessly from philosophical debate to moments of genuine tenderness to scenes of growing paranoia.
Joanna Scotcher’s set design embraces minimalism: a bare wooden table, scattered stool and three walls lined with lights. This stripped-back aesthetic keeps the focus firmly on the verbal fireworks between the leads. Neil Austin’s lighting design adds nuance, the shifting glow of the walls reflecting changes in mood and atmosphere. Bold video projections used at the start of the show and to facilitate the transition between scenes add another layer of visual storytelling.
Beneath the verbal duels and suggestive glances, Born With Teeth explores fascinating themes of censorship, identity, creative ownership and forbidden desire. It shows the tension between two literary giants living under a regime where words could literally be lethal. Yet despite its intelligence and ambition, the play ultimately stops short of baring its fangs. The danger of writing under Elizabethan rule never fully lands and the romance between the men, while provocative, lacks emotional depth.
Still, there’s plenty to admire here, including strong performances, razor-sharp dialogue and a production that blends intimacy with visual flair. Born With Teeth is a stylish, witty and thought-provoking reimagining of the relationship between two of history’s greatest playwrights but for all its promise, it never quite bares its full fangs. It provokes, entertains and teases with tantalising “what ifs” but ultimately, it leaves you wishing it had bitten harder.
NEED TO KNOW: Born With Teeth plays at the Wyndham’s Theatre until 1 Nov 2025
