Born with Teeth at Wyndham’s Theatre
Famously, Shakespeare wrote over 1,200 characters across his 37 plays, but the character of the man himself has almost eclipsed the fame of his abundant heroes and villains. Writing a unique reimagining of a figure who has been explored so many times could be a near-impossible task to undertake, but in Born with Teeth, Liz Duffy Adams masterfully toys with lesser traversed facets of the Bard’s life. Adams delves into his personal and professional relationship with Christopher (Kit) Marlowe as they co-write Henry VI (parts one, two and three), and the result is an explosion of threats and flirtation that would make even Romeo and Juliet question their chemistry. Ncuti Gatwa plays Marlowe with the arrogance of a modern-day rockstar: he is self-important, egotistical, and like most rockstars, endlessly horny. Per contra, Edward Bluemel’s Will is work-oriented, fairly anxious, and much more concerned with the quality of his writing than in becoming canonically immortalised.
If you are looking to watch a piece of historical fiction that is demure and subtle, Born with Teeth is not the play for you. Though the costumes (beautifully designed by Joanna Scotcher) are made with a level of craftsmanship that feels loyal to its Elizabethan setting, the dialogue at times leans slightly more towards telenovela than traditional thespianism. The drama of the play is centred on the religious rifts and numerous spies that plagued society during the period; however, this is a society that we do not get to see explored, therefore, the conflict lacks a certain weight. The play is almost entirely set over a wooden table in a pub, the perfect setting for sexually charged conversations, but perhaps not for theological and political debates (although any fly on the wall in a London establishment may beg to differ).
Despite its untraditional depiction of Elizabethan society, the dynamic between the Gatwa and Bluemel is not to be missed. With a smirk that seems to fill the stage, Gatwa is brazenly seductive as he taunts Bluemel, oozing charisma in a manner reminiscent of Harold Perrineau’s phenomenal depiction of Mercutio. The direction by Daniel Evans is flamboyant, colourful, at times perhaps slightly ostentatious, but nonetheless endlessly entertaining. Jokes are often delivered with a dryness that garnered a near constant stream of laughter from the audience, and the idiosyncrasies and sensibilities of both characters were endearing. For a lover of historical accuracy, this may not be the show, but for any fans of theatrics and flirtation, Born with Teeth promises an enjoyable night out.
Emilia Gould
Photos: Johan Persson
Born with Teeth is at Wyndham’s Theatre until 1st November 2025. For further information or to book, visit the theatre’s website here.
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