‘No one gets to just write. You’re saying things.’ Authoritarianism and Censorship in Born With Teeth Compared to Today’s Northern Ireland

By Laura Blackledge

‘No one gets to just write. You’re saying things.’ Authoritarianism and Censorship in Born With Teeth compared to today’s Northern Ireland. Born With Teeth, a play written by Liz Duffy Adams, interprets the historical relationship between Christopher Marlowe and William Shakespeare by taking into consideration the fact that it was deduced by the New Shakespeare editors that Marlowe collaborated on three of the Henry IV plays with Shakespeare. In the most recent adaptation of the play, the roles of Marlowe and Shakespeare were taken up by Ncuti Gatwa (Sex Education, Doctor Who, The Importance of being Earnest) and Edward Bluemel (Sex Education, Killing Eve, My Lady Jane) respectively.

The play puts both playwrights in a room—collaborating on the aforementioned plays — and puts into perspective the looming fears at that time; being found guilty of opposing the authoritarian regime that ran contemporary England. In the author’s note of the 2025 edition of the play, Adams asks ‘How did they in their different ways manage in such a dangerous political time, when being a popular playwright… was no protection against arrest and torture?’ (Adams 2025).

Marlowe and Shakespeare both approached the ‘dangerous political time’ in different ways. Marlowe by having powerful friends who would — supposedly — protect him, and Shakespeare by adhering to artistic censorship lest he draw attention to himself. Both men had reasons to fear being found out by the crown, Marlowe for being an atheist, and Shakespeare for his family’s Catholic values. However, Adams takes this a step further and puts an emphasis on the speculation regarding the sexualities of both playwrights. Within the play, there is a scene where they share a kiss, and Marlowe mentions previous relationships with both men and women. At this time, homosexuality was condemnable by death, and this adds both an extra level of fear and tragedy to the play.

It is hard not to relate the themes of the play to the modern day and, specifically, Northern Ireland. Although there is now a more democratic system of government, the themes of authoritarianism and censorship still slip through the cracks. A key factor that highlights this is the criminalisation of voicing support for Palestine Action—a group labelled a terrorist organisation by the British Government.

Institutions help facilitate the suppression of free speech and in this case, it can be seen through the targeting of student activists in regard to peaceful protesting the university’s complicity concerning the ongoing apartheid in Palestine. It was revealed recently by the QUB Palestine Assembly, that a Queen’s student has been threatened with expulsion due to allegations of ‘threatening and intimidating behaviour.’ The actions of the university in this context are upholding the foundations of an authoritarian regime and therefore are imitating—albeit in a different manner—the themes that are prevalent within Born With Teeth.

Censorship regarding Shakespeare is understood through how he had to run his plays through the Revels Office, where they had to be ‘checked to ensure that they were both politically and morally safe. The Master of the Revels could force the writer to make alterations to the script, as well as issuing punishments to those whose works he felt to be subversive.’ (Job n.d.) This is an extreme show of authoritarianism and censorship and, although it is less severe in the modern world, it can still be seen. Probably the most popular example of a group that has faced repercussions of authoritarianism and censorship is Belfast-based rap group Kneecap. Who were penalised for their outspoken opposition of the ongoing genocide and apartheid in Palestine. So much so, their set at Glastonbury was refused to be broadcast by the BBC, and one of the members—Liam Óg Ó hAnnaidh—was taken to court for supposedly displaying support for Hezbollah. A claim which the group has denied. Adams states that ‘The question of how artists navigate such regimes while keeping art—the stuff that makes life worth living—alive, is something I find lastingly of interest.’ (Adams 2025). It is evident that Kneecap do not let censorship prevent them from expressing their views, and this shows a separation of the world today compared to the era in which the play is set.

Ultimately, the themes that Adams addresses in Born With Teeth surrounding the Elizabethan Era are especially relevant to modern day Northern Ireland. In her author’s note, she also states how ‘Authoritarianism is a malignant weed that must be fought back, again and again.’ (Adams 2025) This further provides an insight into how we must be active in promoting the ability to freely express our views and to be free from the constraints of authoritarianism within our daily lives.

Sources

Adams, Liz Duffy. 2025. Born with Teeth.

Job, Rachel . n.d. “St John’s Gate and Shakespearean Censorship.” Edited by Hannah Agass.

Museum of the Order of St John (blog). Accessed November 17, 2025. https://museumstjohn.org.uk/st-johns-gate-and-shakespearean-censorship/

Royal Shakespeare Company – https://www.todaytix.com/london/shows/44124-born-with-teeth