⭐⭐⭐ (Three Stars)

Born With Teeth is no doubt a witty, stylish, and sexy production. Essentially a piece of theatrical fanfiction, the play centres two of Elizabethan England’s most famous playwrights: Christopher “Kit” Marlowe and William “Will” Shakespeare. Ncuti Gatwa brings a flirtatious, self-assured charisma to Marlowe, while Edward Bluemel’s Shakespeare provides a diligent, earnest foil. However, despite the actors’ magnetic on-stage chemistry, this two-hander doesn’t always sustain the dramatic tension it strives for.

Spanning three points in their relationship from 1591 to 1593, Liz Duffy Adams’ script blends Elizabethan-inspired dialogue with modern sensibilities, keeping the play accessible while nodding to the period. Much like the play Kit and Will are depicted writing in the earlier scenes, Born With Teeth is “theatre, not a history lesson,” offering an exploration of art, ambition, and danger in a society rife with religious tension and political espionage.

Daniel Evans’ direction clearly maps the shifting power dynamics between the characters, though moments when Shakespeare breaks the fourth wall to address the audience are not always as impactful as intended, interrupting the flow of action rather than building intimacy between characters and viewers. Additionally, some of the more interesting strands of the play’s plot, such as the “Big Brother” style surveillance network targetting those not adhering to the Church of England, felt glossed over and under-developed in favour of building sexual tension on stage instead.

One of the production’s strongest elements is Joanna Scotcher’s set and costume design, with each character’s attire reflecting their personality: the more timid Shakespeare’s plain, understated clothing contrasts with self-assured Marlowe’s tailored, leather-accented look initially and their costumes reflect changes in their dynamic as the play progresses. The set design cleverly underscores Born With Teeth’s fusion of old and new with the era-appropriate wooden stage, table, and chairs obscured between scenes by a screen featuring striking modern video design by Andrzej Goulding, and the stage is surrounded on three sides by numerous warm-toned, occasionally aggressively bright, lights on towering rigs designed by Neil Austin.

There’s much to enjoy in Born With Teeth, between Ncuti Gatwa and Edward Bluemel’s captivating performances, Liz Duffy Adams’ occasionally laugh-out-loud funny writing, and the strong visual design. However, at 90 minutes with no interval, the production feels brisk rather than gripping, and not all narrative beats land with equal weight.

Born With Teeth runs at Wyndham’s Theatre until 1st November 2025.

Tickets Available Here