Teeth ’n’ Smiles returns with energy but struggles to hold together

TEETH ‘N’ SMILES | Duke of York’s Theatre, London, until 6 June

A raw and energetic revival anchored by a powerful central performance, though the play itself feels loose and uneven.

Some plays capture a moment, others the aftermath.

Teeth ‘n’ Smiles does the latter, looking back at the collapse of 1960s idealism through the lens of a band already past its peak. First staged in 1975, with Helen Mirren as Maggie, the play follows Maggie and her group as they arrive at a Cambridge May Ball, a gig that feels less like an opportunity and more like a final stop on the way down.

This revival, directed by Daniel Raggett, leans into that sense of decline. The band is fracturing, relationships are breaking down, and whatever sense of purpose once held them together has long since faded. Maggie herself is at the centre of it all, a volatile, self-destructive figure clinging to both her talent and her relevance.

The production’s central idea is clear: this is not a story about success, but about what happens after it. The play unfolds over a single chaotic evening, blending music and drama to explore disillusionment, ego, and artistic burnout. It is, definitively, a play with songs rather than a musical. The music provides energy and release, but the drama is where the weight should sit.

The performance at its centre is what works best. Rebecca Lucy Taylor, also known as the singer Self-Esteem, brings a raw, unpredictable energy to Maggie. She proves equally compelling as an actor, charting the character’s swings between collapse and control with confidence. Her entrance, carried on stage in a near-catatonic state, sets the tone immediately, and from there she commands attention, both vocally and dramatically. She is phenomenal.

There are a few other recognisable names as well: Michael Fox from Downton Abbey and Phil Daniels from Quadrophenia, who appears as the band’s manager. He delivers a lengthy monologue in Act Two about his experience in the aftermath of World War II, which unfortunately brings the play to a halt. Its purpose feels unclear, other than to provide him with a moment in the spotlight.

This leads to the play’s core problem: while there are flashes of sharp, funny dialogue and moments where the band dynamic feels authentic, the structure itself is loose. Throughout this one evening, the main thrust of the drama revolves around the band’s interactions. One member is obsessed with trivia; another cross-dresses whilst under the influence of copious quantities of drugs. These are all excellent performances but unfortunately do not add up to a great deal.

Also, characters such as Maggie’s boyfriend remain underdeveloped and we do not fully understand the dynamics of the relationship.

This lack of focus becomes more apparent as the evening progresses. There are themes here about art, identity, and the collapse of idealism, but they are not always fully explored.

Musically, however, the production has real strengths. The songs, some specially written for this production by Self-Esteem, provide some of the evening’s most engaging moments. The actors playing the band members can all play and sing superbly. If the play sometimes struggles to hold its shape, the music gives it energy and drive.

It is perhaps unfair to compare it directly with more recent plays about bands and creative breakdown, particularly in the same theatre, but ultimately it feels like Stereophonic lite.

It remains an interesting, if uneven, piece and captures the feeling of a generation coming to terms with its own disillusionment, albeit in a way that can feel fragmented.

Teeth ’n’ Smiles captures the collapse of 1960s idealism through a chaotic band on the brink. Strong music and a compelling lead performance from Self-Esteem impress, but the drama lacks focus. Go for the songs, not the drama.

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