Lots of people from David Hare’s generation never got over the protests of 1968. For the 50th revival of this play, the hangover the Soixante-huitards felt in the early the 1970s is clear enough but it is, understandably, diluted. There’s still enough in Teeth ’N’ Smiles to engage. The piece raises questions about the role – and price – of art that are interesting, even if they feel like old ground.
Director Daniel Raggett’s production keeps the play’s bold moves. The action revolves around a rock concert at a Cambridge May ball (cue lots of predictable remarks about class). But the observations on the band’s members – who are toxic to a man – are sharp. The performances, from an ensemble who all exaggerate a little too much, do nothing to redeem this collection of man children. The humour grates and the substance abuse bores. I’m sure it’s deliberate… but it isn’t nice. There’s a similarly sinister, you could argue clichéd, manager who delivers a more successful villain. It’s a perfect role for Phil Daniels, who makes the part look very easy, which is a skill.
The band and their singer Maggie have a cult following, so we’re never really sure if they are actually any good. That creates a smart tension and it is with the role of tragic troubadour that the show takes off. Maggie is a fantastic creation, troubled to mythic proportions and furiously smart; one of those selfish and flawed characters you still admire. Taking the role, Rebecca Lucy Taylor (aka Self Esteem) shows strong acting skills and fantastic singing.
It is Taylor’s performance that makes the musical interludes work. The songs are mostly period pieces, written by Nick and Tony Bicât with additions from Taylor, and not to all tastes. But they fit well and the formidable energy behind them provides a commentary on Maggie’s wish to keep moving.
Arguably, Teeth ’N’ Smiles’ boldest move is to carry this investigation into progress to its love story. Maggie’s song-writing ex-boyfriend, a role we might align with that of the playwright, becomes a mere foil. It’s a shame for Michael Fox, who does well as the male lead, but a smart move for the play. Our heroine was always more interesting and talented than the men around here and, while the play might seem to end in the tragedy of an arrest, there’s a sense of triumph that Maggie is finally breaking free.
Until 6 June 2026
www.teethnsmilesplay.com
Photo by Helen Murray
