Fifty years after it first rattled the Royal Court, David Hare’s Teeth ‘N’ Smiles returns to the West End in a revival that is energetic, occasionally compelling, but ultimately uneven. Daniel Raggett’s production boasts a strong cast led by Rebecca Lucy Taylor, known to many as Self Esteem, yet the show struggles to shake off the dust of its era. What might once have felt raw and incendiary now lands with a softer thud, its rebellious streak dulled by time.
Set in 1969 amongst the chaos of a Cambridge May Ball, the story follows Maggie Frisby, the volatile frontwoman of a rock band watching their dreams disintegrate. The production leans into that chaos with loud, driving musical numbers and a deliberately fragmented structure. The eight songs, some featuring new material by Taylor, are performed with gusto and certainly showcase the cast’s vocal power. However, they are often cranked to such volume that they feel loud for the sake of being loud, blurring lyrics and overpowering the emotional core.
Taylor gives the role everything she has, with a voice that cuts clean through the noise. Yet for all her charisma, this does not feel like the most natural fit. Maggie’s grit, danger and fury sit awkwardly on her shoulders, and while she finds interesting emotional moments, the character never quite convinces as the snarling rock icon the play demands. The production also leans heavily on her presence, occasionally to the detriment of the ensemble and the broader storytelling.
Among the supporting cast, there is excellent work. Phil Daniels is a standout as Sarrafian, grounding the production with a seasoned, understated performance. Michael Fox is equally strong, bringing nuance to Arthur and offering one of the evening’s most engaging character arcs. The wider company operate with real commitment, each bringing their own colour to Hare’s band of misfits, though one or two roles feel underwritten or oddly pitched, particularly the young student whose purpose in the narrative never becomes fully clear.
The revival makes gestures towards a unified aesthetic but never quite finds one. The look and tone veer between gritty realism and stylised theatricality, creating a visual language that feels muddled. This sense of inconsistency extends to the structure. The play’s intentional chaos should feel exhilarating, yet here it often feels messy. Long monologues slow the pace and the first act, in particular, drags. The second act fares better, finding sharper focus and more emotional clarity, but by then some of the energy has dissipated.
The central issue is that the play feels dated. While themes of disillusionment, fading ideals and creative burnout certainly remain relevant, little in this revival makes them feel urgent. In a year that recently saw Stereophonic in the West End, also exploring a band on the brink, the comparison is unavoidable and not always flattering.
There is enjoyment to be found here, not least in the cast’s commitment and the musical drive. But despite moments of sparkle, this revival never fully justifies its return. Energetic, sometimes entertaining, but ultimately held back by writing and structure that have not aged as well as its creators might hope.
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