Written by Shaul Ezer

Directed by Jen McGregor

The number of conspiracies surrounding the playwright, poet, and historical and cultural icon William Shakespeare is vast. From ideas and intrusions of his sexuality, his supposed faked death, to the more infamous accounts of those with an inkling of theories of Christopher Marlowe’s hand in creating some of Shakespeare’s sonnets and dramas. But fewer are familiar with the theory, others may argue conspiracy, of Shaikh Zubayr, a man whose writing would influence the world. But the British were never going to this man be the face of their claim on the artistic world.

As Kit Marlowe enthusiast and academic Laura, played by CATS 2023 Best Ensemble winner Kirsty Eila McIntyre, is struggling with the final steps of the theories she’s been working on – when inspiration, and annoyance, strike. Before here stands the roguish form of the assassinated writer Christopher Marlowe, played with vim and verve by Nicholas Thorne, here to offer an account of his history, and the truth behind the Bard, behind the United Kingdom’s most successful writer.

Unsure if this manifestation of the historical writer is genuine, or the result of too many late nights and pro-pluses. Transitioning between scenes, from the intense heat of Morocco to the intense rain of contemporary Scotland, is the live musical talents of John Kielty whose presence is an absolute hoot through the show, robbing some of the best laughs from the audience with their sharp, often snide facial expressions or bursts of incoherent annoyance.

The tremendously versatile team (Matchmaker Productions) behind The Masks of Oscar Wilde pry open the annals of history once more but in a far more flowing and storytelling manner. The Real William Shakespeare… As Told By Christopher Marlowe benefits from the superb Jen McGregor’s direction which balances the lyricism and energy of the show with some more sobering and earnest moments. All while remarkably snappy lighting shifts which aid in pushing the story beats to the next stage. It’s the only notable drawback of Ezer’s writing, where the audience can ‘feel’ the turning of the page for each new chapter or sequence of the story. 

But Jen delightfully leans into the Queerness of the theatrical experience in Marlowe’s inclinations and passions, as elements are presented as they would be for the historical and the characterisation, Ezer’s script, despite its subject matter, fends off any audience concerns of any ‘agenda’ or political determinations – this is still influenced with historical fiction after all, and delightfully so. Thorne has a tough task, not only playing to the more comedic frustrations of Eila McIntyre but balancing a more serious note with the introduction of Adam Buksh’s terrific performance as Zubayr, the pair having some tense moments together, all stitched together wonderfully by McGregor.

This is a wonderfully crafted piece of jovial, not overly sentimental theatre with lashings of heart and passion, topped with a whimsical ruff. Set in the appropriate surroundings of the gorgeous Riddle’s Court, The Real William Shakespeare… As Told By Christopher Marlowe infuses itself with enough pip of musicality and farce, with engaging performances to ensure that whatever the truth of the Bard may be, it’s sure to be a damned fine one: the past has never been quite so enjoyable.