mirror teeth [2011]


“You might at least say thank you, Jenny. I’ve been out digging a hole for your boyfriend all night. Not to mention severing his legs. Have you ever severed a leg? It’s not as easy as it looks. Not with a blunt spade.”

Jane is a housewife. James sells guns. They live in one of the larger cities in Our Country and are both terrified of ethnic youths who might well be wearing hoods and carrying knives,or something. All is well in the Jones household, until their sexually frustrated eighteen-year-old daughter Jenny brings home her new boyfriend, Kwesi Abalo…

A visceral, smart, brutally hilarious play about prejudice, arms dealing, and what it means to be English.

First performed at Finborough Theatre,  5th July 2011; directed by Kate Wasserberg, performed by Jotham Annan, Jamie Baughan, Louise Collins, Catherine Skinner and David Verrey.

Nominated for four Off West End Awards
Best Director – Kate Wasserberg
Best Female performance – Louise Collins
Most Promising Playwright – Nick Gill
Best New Play

mirror teeth has been translated into French and Portuguese, and performed in Brazil and France.


****Four Stars The Times

****Four Stars The Public Reviews

****Four Stars Exeunt Magazine

“This is theatrical Viagra and deserves a wider audience.” Franco Milazzo, Londonist

“Sweetly ferocious” Jeremy Kingston, The Times

“Mirror Teeth is packed with promise.” Paul Taylor,The Independent

“A play of distinctive promise.” Michael Billington, The Guardian

“Deliciously extravagant….A vivid and wild satire.” Aleks Sierz, Tribune

“The laughter never dies, even after the inevitable murder, but the serious argument never fails either, and the cast of five rise to the challenge of the style with terrific flair” Jeremy Kingston, The Times

“The satire on Little England values and Western hypocrisy would come across as heavy handed if Gill’s play weren’t so brazenly ludicrous and laugh-out-loud funny. Kate Wasserberg’s chutzpah-laden production is blessed with a superb cast: in particular, Louise Collins is wonderful as the excruciatingly precocious Jenny.” Andrzej Lukowski, Time Out

“If Eugene Ionesco had sat down and written a grand piss-take of everything produced at the Royal Court in the last five years, it might have started a lot like Nick Gill’s Mirror Teeth.” Dominic di Nezza, Spoonfed

“Once again…the Finborough Theatre is punching above its weight. With Nick Gill’s Mirror Teeth, it is, one suspects, trading blows with the Royal Court, little more than a mile up the road. For Gill plonks onstage a middle class family so brazenly generic that they have the double function of satirising those that have become such a mainstay at the Sloane Square venue…Gill’s family portrait is more barbed than the usual Royal Court fare” Matt Trueman, Culture Wars

“Nick Gill’s assured new play works both as a darkly absurdist comedy about Englishness and a satirical commentary on the mechanics of playwriting – or at least a certain stripe of new writing.” Natasha Tripney, The Stage

“I will be eagerly awaiting the writer’s next offering.” Deborah Klayman, The Public Reviews

“I shall watch out for the next piece by this author.” Paul Taylor,The Independent

“For a new playwright, Gill has striking assurance.” Kate Bassett, The Independent on Sunday

“This theatre’s annual, unsung Vibrant festival offers a month of staged readings of new plays. One beneficiary of the process in 2009 was Nick Gill’s Mirror Teeth, which now gets a full production and turns out to be a fascinatingly idiosyncratic piece: one that exposes reflex racism and sibling sexuality in English family life in the absurdist style of Ionesco or NF Simpson.” Michael Billington, The Guardian

“Ably directed by Kate Wasserberg and performed by a superb cast. An absurd look at prejudice, arms dealing and sexuality the play is by turns hilarious and painfully dark, and is shot through with enough tension to blunt several knives.” Deborah Klayman, The Public Reviews

“Brilliantly stylised…Believable and compelling” Deborah Klayman, The Public Reviews

“Nick Gill’s razorsharp satire on middle-class morals and the banality of suburban life is not for the easily offendable. While there’s little in the way of swearing, there’s enough sexual tension, foreplay and simulation here to make a  News Of The World reader blush…The play itself comes across like an episode of American Dad! written by Mark Ravenhill after a night up watching Reginald Perrin re-runs.” Franco Milazzo, Londonist

“Incredibly funny…Nick Gill’s Mirror Teeth may be only 90 minutes long, but it packs a lot of punches in its short time-frame.” Christine Twite, Exeunt Magazine

“Authors of black comedies lead us along a tricky route by creating hilarity out of shock. Nick Gill certainly succeeds in this — and Kate Wasserberg honours his achievement with pitch-perfect direction. But Gill’s play is much more than a punch at PC assumptions. It hits at the hypocrisy to be found in the doings of International Business, where Money squashes Morals any day.” Jeremy Kingston, The Times

“The headline attraction in the Finborough’s Vibrant new writing festival, Nick Gill’s black comedy ‘Mirror Teeth’ is a demented rummage around the more psychotic elements of the English psyche, via the microcosm of one model family.” Andrzej Lukowski, Time Out

“Suggestions of incest, explicit sexual scenes and a plot that takes the family to the Middle East to sell arms to insurgents all make for genuinely provocative viewing.” Aleks Sierz, Tribune

“Gill doesn’t so much delight as revel joyously in picking at the suppurating prejudices at the heart of middle-class England.” Dominic di Nezza, Spoonfed

“Gill is very well-served by Kate Wasserberg’s poker-faced production, and by the performances of David Verrey and Catherine Skinner as the parents, Louise Collins and Jamie Baughan as their offspring and Jotham Annan as the man who came to dinner” Michael Billington, The Guardian

“There are genuine points of beauty – impassioned, dreamlike monologues from John (Jamie Baughan) and Jotham Annan (as both Kwesi and a third-act policeman) draw an arc reminiscent of Philip Ridley’s very best as they explore the tortured poetic natures of these indoctrinated souls. It’s some of the best new writing I’ve heard recently”. Dominic di Nezza, Spoonfed

“Its atmosphere of spirited absurdity feels fresh and occasionally even a bit dangerous. Well directed by Kate Wasserberg, this is a fringe farce that shows how, when money never sleeps, morality tends to doze off.” Aleks Sierz, Tribune


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