Y'all, it has been literal months and I'm still not over how Born With Teeth was simultaneously a vicious takedown of the myth of William Shakespeare the man and one of the greatest entries to that mythos.
That is some A+ playwrighting right there...
Spoilers below the break!
"Do you hate me now? I’m not who you thought I was? Oh, Will would never be so treacherous. Oh, that’s not the Will we know. Well, no. You don’t know me. You know a fairy tale of a country boy made good, the genius earnestly scribbling his way to glory. Christ, are you really that naïve? Do you think anyone ever got rich, got famous and beloved and violently admired by staining his hands with nothing worse than ink? Do you think a career like mine just happens? I would have knocked Saint Paul into the fire if he’d got in my way. From the day my father took me to see the players I knew what I wanted. I wanted money, I wanted glory, I wanted a name. I did not want failure, still less the small room with the sharp instruments. They broke Tom’s hands.
(Slight pause)
Yeah, no thanks. I loved Kit, but I have worlds to write, and if only one of us could have the brilliant future, it’s not an agonizing decision. Trust me. The man who wrote Iago knows what it is to betray a friend."
...I had to lie down for a minute after this monologue. Just stunning, stunning work by Liz Duffy Adams.
Playwright Liz Duffy Adams, who conceived Born With Teeth (the title is borrowed from a line in Henry VI, Part 3), was inspired to write it several years ago, when scholars determined that Shakespeare and Marlowe had most likely collaborated on the Henry VI play cycle, back in the early 1590s. (One case where AI proved useful in research.) She and director Rob Melrose place us in an Elizabethan tavern back room where the two very different writers set out to, carefully, re-create some English history without stepping over any lines that would cause the censors, or Queen Elizabeth’s assassins, to get touchy.
Thoughts On “Born With Teeth” (Shakespeare/Marlowe Elizabethan Stage Fanfic)
So the more I learn about this play, a fictionalized take on William Shakespeare’s and Christopher Marlowe’s collaboration of Henry VI, the more I’m both intrigued and wondering if this is the consequence of too much wealth and peace, that outward breaks, and knows not why a perfectly good premise should be so…Tumblrized. Spoilers, of course.
The Migratory Slash fandom met Everything Is Political Edgelord(tm) and this is the result of their very messy hookup.
And yet when Henry VI was printed in the First Folio, it was wholly credited to Shakespeare. Not Marlowe.
I suppose Heminges and Condell took the attitude that since Marlowe was long dead, it was no longer necessary to credit him. But that does not explain why, if Marlowe were the primary writer or even one of them, the play or trilogy as a whole was not credited to him when it first came out. At the time, he was much more successful, with Shakespeare being a relatively newbie actor and play poet.
Perhaps Henry VI was a group project, but led or overseen by Shakespeare, with Marlowe, Nashe, and possibly Greene following his outline. This play, though, follows the new assertion of an equal Shakespeare-Marlowe collaboration. Fine, I guess, but I would have killed to have Nashe and especially Greene cameo.
Of course, because we just can’t have one Shakespeare-related work that doesn’t explore the dullest question posed ever in the mysterious Life: Was Shakespeare a Catholic????
Tag yourself, I’m “puppy dog but also wary of his collaborator’s reckless ways.”
*gretchen voice* Stop trying to make Shakespeare/Marlowe happen, they are never going to happen
No, but seriously, it would kill all the delicious tension and drama between these two! The envy on both sides, the frustration, and inadequacy…the camaraderie of their shared background, the constant comparison, the deep-rooted insecurity…it’s so fascinating. All that would be gone if you just make them hook up.
It’s not about plausibility or probability. Marlowe was by all accounts gay asf and Shakespeare is as riddling as ever. It’s about drama. Sex, simply put, releases tension. And if you’re trying to build a love story between the two, then you come across the problem of both too-similar backgrounds and too-dissimilar personalities. It’d be Romeo/Mercutio all over again.
For my part, Will already has dramatic tension enough with Anne (whatever tf was happening on that corner) and I think it’s a little bit too early to introduce either a Dark Lady and/or a Fair Youth love interest. But that is still way preferable than having Marlowe be the love interest.
Tfw you’re flirting with your crush and he threatens go expose your family as secret Catholics 🥰🥰🥰🥰🥰🥰🥰🥰 Just OTP things
(But wait a tick tock, Marlowe betrayed Thomas Kyd????? Nah, man, this is libel. Kit, baby, I’m sorry.)
I saw this play Saturday night at the Aurora Theatre in Berkeley.
It.Is. AMAZING.
"Will Shakespeare is an upstart crow looking to make his name. Kit Marlowe is the greatest poet of the age and knows it. He's also a spy for the English crown. In the back room of a tavern, against the backdrop of a polarized and paranoid England where even the slightest misstep can lead to a death sentence, the two writers embark on a risky collaboration. Artistic partnership becomes a dangerous dance of inspiration, artistry, seduction, and possible betrayal. Experience the thrill of creative expression and the precariousness of living in a society where every move is scrutinized."
And, lucky you—you can watch it streaming! You do not have to go to Berkeley. (Although, if you can, I highly encourage you to go in person—the Aurora is a delightful experience in person).
The stream is pre-recorded, so you can watch it any time in the 36 hour period you book for.
The result was a five-and-one-half-hour production that felt remarkably cohesive. This was due, in part, to the same actors playing key roles across the pageants, something that was not the case in medieval York. The first episode, “Song of Triumph (Lucifer’s Lament),” introduced the play’s central characters—Gabriel and Lucifer (Asia Kate Dillon). Although Jesus (Colin Waitt) was a significant character in act 2 and during the first half of act 3, it was Gabriel’s and Lucifer’s differing responses to God’s authority that propelled the story forward. This difference was established in the second episode, written by Liz Duffy Adams, in which Lucifer accuses Gabriel of “groveling” before God rather than truly loving him as they do. When God (Matthew Jeffers, in a track suit and gold chains) banished Lucifer, they said: “I wonder if someday you’ll learn what love really is. I wonder if someday it will break your heart. I wonder what will happen when the Heart of God breaks.”
This notion of God’s love is ultimately what the rest of the production explored, with Lucifer often displaying more moderation and sympathy toward humanity than did Gabriel, who had to execute God’s orders in his absence. Having been absent since the middle of act 1, God finally returned in the penultimate episode, “The Last Judgment,” adapted by Michael Mitnick. Frustrated and surly, God instructed Gabriel to “box it up” and “move it out.” However, after helping God separate the saved and the damned, Gabriel finally united with Lucifer and accused God of abandoning them: “I mean, you’re the star of the show and then you leave me, Lucifer, and your own son here—everybody just kind of HANGING. Ever since Cain and Abel, you disappear and—boom—the real shitshow begins.” Yet, the production did not end on this accusatory note; instead, it concluded with José Rivera’s “Sermon of the Senses,” a collective meditation on the simple pleasures of living.
jill stevenson, theatre journal vol. 66, johns hopkins university press
Hello and Welcome to 'I share the silly entrance animations for my silly wrestler characters and encourage you to make assumptions about them as people based purely on these videos' where exactly that and @randomfrog2 encouraged me to so here you all go. Links will be filled over time, I couldn't record or upload them all in one go.
Under the cut because between 2k22 and 2k23 there Will eventually be 200 of them total
The wait is finally over! #Tremontaine season 3 is here and we can all inhale @ellenkushner‘s episode one as one would savor a cup of delectable hot chocolate. Don’t miss any episodes: bit.ly/tremontaine
(via Ellen Kushner Joins the Reader-Side of Riverside - Serial Box Serial Box)
The @tremontainetheserial Season 3 brainstorm at our place last winter. Chocolate was served - and also rum from Barbados, courtesy of newest writer @drkarenlord, shown here with @tessagratton & Delia Sherman.
Those who’ve read Episode 2 of Season 3 know exactly whose Grief Spiral/Violence Spree we wrote on that index card for our Plot Board....
And in there also: Delia & @lizduffyadams going over story pages, with the new paperback of TREMONTAINE (Season One) on the table to inspire them.
Unfair that I can't make edits of my own memories so I could make a billion GIF sets of Born With Teeth by Liz Duffy Adams starring Alex Purcell as Kit Marlowe and Bradley James Tejeda as Will Shakespeare. The Tumblrinas would go wild for the sexual tension and raw as fuck lines.
This a play that starts with the stage direction "Two young men, sperate, strung up by ropes in stress positions—desperate, shouting, overlapping, in response to interrogation."
A few years back, computer analyses came up with a tantalizing theory: William Shakespeare may have collaborated with fellow playwright Christopher “Kit” Marlowe on the three “Henry VI” history plays. This qualified as a bombshell in the literary and dramatic worlds. Marlowe, who died under mysterious circumstances at the age of 29, is widely considered Shakespeare’s equal, or even superior. The possibility that they put their heads together for a cycle of plays, no matter how weak that cycle may be, is a bloody big deal.