Teeth ‘N’ Smiles at Duke of York Theatre Review
Photo by Helen Murray
Written by Annie for Theatre and Tonic.
Disclaimer: Tickets were gifted in return for an honest review. All views are my own
With an ever increasing resurgence of revivals, the latest entry to the West End is David Hare’s 1985 play “Teeth’n’Smiles”. First played at the Royal Court, this play was a groundbreaking exposition of the lost counter-cultural ideology of 1969. Demonstrating the lost ideology of the era, the end of a musical generation and all the melancholy that came with it. Returning to the West End for the first time in 50 years, the question was whether the play had withstood the test of time, and could create the same impact as its initial success.
Following the band on the eve of a gig at Cambridge University's May Ball, it is evident that we are on the cusp of the end from the very start. The band are well aware that they are approaching their expiry date - the audiences seem to no longer engage like they once did, their camaraderie as a group is failing, and the psychedelic haze of the 60’s seems to have taken its toll on many of the members.
Lead by Rebecca Lucy Taylor (AKA SelfEsteem) as Maggie, and it is more than evident that Taylor can act as well as perform. Perfectly blending the character and the performer, we are greeted with multiple musical numbers which transport you into the world of a changing music scene whilst honouring the golden years of the band. Maggie is a drunken wreck whilst backstage, yet manages to compose herself before the first performance, but the signs of catastrophe linger in the air. Taylor performs with a natural ease, as expected in the musical numbers, but her overall stage presence is composed and confident.
The rest of the band is made up of every potential stereotype you may assume from a 60’s band. Peyote (Jojo Macarie) is the struggling addict, Wilson (Michael Abubakar) is desperate to keep the band alive by striving to ride on their predecessor’s coattails, and Arthur (Michael Fox) is the stoic yet long suffering writer for the band. Each play their roles excellently, however the lack of content in the book is what fails them. Perhaps their raw portrayals would’ve packed more of a punch at the once puritanical Royal Court, but now it feels tired and what a modern audience would expect of the era.
Taylor has written original music for the production, to blend in with Hare’s original score - and it’s safe to say the numbers are nothing short of a spectacle. Chloe Lamford’s set takes you into the crowds of the band’s performance - isolating the performance to feel as if you’re at a live gig. The set then cleverly rolls backwards to act as the backstage room for the band to return to the dialogue. It’s powerful and bright, yet the dark, dingy backstage space reminds you of the futility of the era.
Alex Mullin’s costumes are divinely nostalgic - feeling as if they’ve stepped straight out of any rock band’s closet - tassels, animal print boots, and leather galore - it pays homage to the era without over idealising it.
With sound by Ben & Max Ringham, the music is incredibly brought to life, with all the power and impact you’d expect from a concert, but without overpowering the theatre, it still feels an intimate insight into the world. Matt Daw’s lighting is also a dazzling display. Flooding the band’s stage with arena style lighting, contrasted with solo-lit performances, the contrast throughout brings depth to the performances.
Sadly, the book is the ‘Achilles heel’ of this revival production. Hare writes with excellent understanding of the period, and is an interesting insight into the world, yet it doesn’t seem to strike a chord in the same way it managed 50 years ago. The script lacks depth, and struggles to dive below the surface. It lacked to leave much of an impression except for excellent musical performances, which perhaps is not its intention. It’s evident the play’s initial aim was to be loud and bold, but today it lacks the subtlety and nuances that perhaps would give it the depth to pack a punch as it once did.
Plays until 6 June 2026.
★★★
