Teeth ‘N’ Smiles has enjoyed a lengthy run during this 2026 revival at the Duke of York theatre, celebrating 50 years since prolific writer David Hare’s rock and roll musical took to the stage starring Helen Mirren as the work’s darkly charismatic protagonist Maggie Frisby. Similarly, this production brings some star-studded value to the cast with pop artist Rebecca Lucy Taylor (formerly of Slow Club fame), now professional performing as ‘Self Esteem’. How does Hare’s work stand now?
This production is pleasantly refined – its large cast are handled with great balance inside a great space, which playfully leans into the immersive qualities of the venue as the late 1960’s rockers burst in and out of the stalls doors that flank the audience with an amusingly entropic quality. Chloe Lamford’s set design has a compelling realism and enormous depth which is managed with a wise theatrical approach – a transporting stage brings the fictitious band ‘The Skins’ to the cliff-face of the stage, which accentuates the immediacy and primacy of the music, especially as the group wield it as a cultural weapon. It also allows us to see in greater detail the collapsing composure of frontwoman Maggie Frisby as the potency of their hedonistic, radical liberalism disintegrates in real-time before us through Frisby’s drunken tirades and the bands dissolving confidence in their ambitions.
Hare’s script is both predictably acerbic about the cultural climate of the time, yet surprisingly scathing about the ineffectiveness of musical counterculture. It harks on familiar tropes of idealistic ‘taking it to the man’ defiance being toothless when launched from a pedestal of abrasive escapism. It frames the groups hedonism as a decadent, futile and destructive force – which whilst it may be, feels an unforgiving way of framing certain pockets of the wider Western counter-cultural movement of the 1960’s which has had lasting, positive effects that can be felt today. The danger of such top-heavy framing results in a work that feels almost prudish at times despite the depicted impulsive indulgences, with a scathing ideological backbone that ironically possesses an oppressive likeness. That said, what has unproblematically survived the scathes of time is the witty, comedic traits of Hare’s text – there are plenty of laughs here which remain exciting and undated. At times just clever, at other times outrageous – it really nicely balances that, making the humour of the work enjoyable invasive.
Performances are strong throughout this production. Jojo Macari’s ‘Peyote’ is delightfully manic and effervescent, despite the morbid reality of his frequently depicted drug abuse. Roman Asdanxiety andpicts expertly self-doubting, unproven anxiety, and makes for a generously sympathetic and humorous portrayal of servant-like youth. Michael Abubakar’s Wilson is a force of nature who is fantastically alive and reactive and Phil Daniels’ Saraffian is buoyantly sinister, capturing the sly bombast of band managers in showbiz with a real, entertaining poise. As Arthur, Michael Fox enjoys a huge amount of stage time as the ex-partner of Frisby. Although he possessed a great confidence and clarity of delivery, he also felt inflexible and on-rails. Similarly, was his on-stage girlfriend Laura, played by Aysha Kala. Lines were leant into and performed with an excessive theatrical quality, announcing them rather than delivering. Whilst this kind of performative nous would’ve been suitable for a role like Peyote, the function of Arthur (and similarly Laura) in the text is as a grounded figure in the chaotic orbit of Maggie Frisby possessing of a disarming genuineness which is our entrance inter the inner world of the play’s complex protagonist. Unfortunately, we were denied an easy entry because of this abrasive performance style.
That said, entry was still made – not least due to the incredible work of Rebecca Lucy Taylor in this headlining role. Her performance is stark in its balance of vulnerability of silver-tongued outrageousness. Her physical presence is magnetic, with a fluidity that gives Frisby an incredibly effective mercurial quality that implores us to consider the unhinged instability of the decaying rocker. Expectedly, Taylor is a vocal powerhouse who completely sells the believability of a rock star of yesteryear by being a rock star of the moment when watching her play with The Skins. Taylor also made a contribution to the work in the form of ‘Maggie’s Song’, a sincere acoustic ballad that lends more of the work to her voice which feels very apt for this revival – especially as Arthur is given his moment at the play’s climax which I fear would feel slightly undeserved without being able to lean on Taylor’s new moment as Frisby.
All in all, there is plenty to enjoy about this new production of Teeth ‘N’ Smiles. It’s entertaining, visually compelling and performatively astute for the most part. Hare’s story peters off in the second act, but there is still a strong emotional resonance in this piece even if its socio-political commentary feels somewhat cynical. There’s enough to be challenged with if you value being challenged, and equally enough fun to be had without stirring too many complex and uncomfortable cultural truths – and it balances this without selling an ounce of its soul. This revival is a successful, potent work that takes risks and reaps the rewards.
Reviewer: Nathan Dunn
Reviewed: 4th June 2026
North West End UK Rating: