Self Esteem, the stage name of British musician Rebecca Lucy Taylor, brings a captivating energy to the revival of David Hare's 1975 play Teeth 'N' Smiles at the Duke of York's Theatre. However, this production struggles to overcome the dated elements of the script, resulting in a mixed theatrical experience that shines brightest during its live musical performances.
A Magnetic Lead Performance
Rebecca Lucy Taylor is utterly ravishing as Maggie, the self-destructive lead singer of a rock band performing at a Jesus College May Ball. Her portrayal captures the raw vulnerability and rebellious spirit of a musician at odds with her surroundings. The meta sections where she performs live with the band are particularly compelling, showcasing her authentic stage presence that electrifies the audience.
Taylor has contributed new music to supplement Nick Bicât's original score, with lyrics by Tony Bicât, creating moments of genuine theatrical excitement. Chloe Lamford's stage design successfully transforms the traditional Duke of York's Theatre into what feels like an authentic, loose gig venue, adding to the production's immersive quality.
Dated Elements and Narrative Shortcomings
Despite these strengths, Teeth 'N' Smiles shows its age in numerous ways. The play's premise—inspired by The Rolling Stones' experience playing for a snobby Oxbridge audience—remains intriguing, but the execution feels outdated. The band members often come across as clichéd tropes rather than fully developed characters, with their drunkenness and drug use frequently played for cheap laughs rather than emotional depth.
Director Daniel Raggett's energetic approach sometimes works against the drama, with cast members frequently running through the stalls in a manner that feels distracting rather than meaningful. The central conceit of backstage life at an Oxford show never fully materializes, serving more as thematic backdrop than literal setting.
Character Development and Dialogue Issues
The narrative focuses primarily on the three-way relationship between alcoholic Maggie, songwriter Arthur, and manager Saraffian, but too many of these interactions feel contrived and surface-level. Excessive dialogue often culminates in meandering anecdotes that fail to advance character development or plot momentum.
An exception is the character of guitarist Peyote, whose ridiculous yet entertaining monologues about admiring rock stars who expose themselves on stage provide moments of genuine humor. However, these highlights are overshadowed by heavy-handed elements that border on cringeworthy, particularly the repetitive reliance on drunken stumbling as comedic material.
Contextual Challenges
The timing of this revival is particularly unfortunate given the recent success of Will Butler and David Adjmi's Stereophonic, which premiered in 2025 as a five-star examination of 1970s rock band dynamics. That production's tender, real-time exploration of relationships and meticulous attention to detail set a high bar that Teeth 'N' Smiles struggles to meet.
While the thematic concerns about class conflict and artistic integrity remain relevant, the play's execution feels trapped in another era. Audience members may find themselves wondering about the central narrative drive and what genuine jeopardy the characters actually face beyond their immediate discomfort with the Oxbridge setting.
Teeth 'N' Smiles continues at the Duke of York's Theatre until June 6th, offering theatergoers the chance to witness Self Esteem's magnetic performance in a production that ultimately feels more like a period piece than a vital contemporary work.
