Born With Teeth is, without doubt, the sort of drama that would sit more comfortably in Stratford upon Avon than the West End and is in London for one reason only: the star wattage of Doctor Who himself, Ncuti Gatwa, as the mischief-making Marlowe. I’m delighted to report that Gatwa is in his swashbuckling element here, infinitely more compelling than he was in The Importance of Being Earnest at the National last year. Gatwa’s Marlowe swishes his cape with insouciance and brandishes a quill pen like a sword, leaving us in no doubt that it is he, rather than Shakespeare (Edward Bluemel), who is the superstar playwright here. When the latter ventures to point out that the pair are in fact the same age, Marlowe is ready with a withering put-down: “Not in stage years”.
Ncuti Gatwa and Edward Bleumel (Photo: Johan Persson) square THEATRE REVIEWS Yet another play has been ruined by the lights being left on
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A working knowledge of Henry VI would be a benefit for audience members, as would background understanding of the combustible state of the country in the 1590s, as religious tensions perpetually threaten to boil over and an ageing, heir-less queen causes grave consternation about England’s future. The build-up to the denouement – don’t forget that Marlowe died in 1593 – feels rushed and under-explained, although we understand from Shakespeare’s sudden improved quality of jacket that he is a man on the up, the one who is going places in the showbiz world. Bluemel gives an understated performance of someone growing in confidence, growing into themselves, whereas Gatwa’s Marlowe is a flame that burns with explosive brightness and is then extinguished.
To 1 November (BornWithTeethPlay.com)
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