Review: Teeth ‘n’ Smiles, Duke of York ***½

9.+TEETH+'N'+SMILES.+Noah+Weatherby+(Inch),+Rebecca+Lucy+Taylor+(Maggie),+Samuel+Jordan+(Smegs)+and+Jojo+Macari+(Peyote).+Photo+by+Helen+Murray — Photo credit: Helen Murray

It is hard to imagine the Rolling Stones playing an Oxford May Ball, but this unlikely true event (their manager booked it in before they made it big) was the catalyst for David Hare’s play. When it first arrived at the Royal Court in 1975, it was seen as ground-breaking, ushering in a new style of theatre that brought the raw, loud, and often messy energy of rock music into a dramatic space. This latest revival at the Duke of York’s Theatre reminds us of that gritty history, presenting a snapshot of a band floating in booze and drugs during a single, chaotic evening in 1969.

By following the classical unities of French theatre, the entire play is confined to one location over one night. While this often creates a focused, pressure-cooker environment, the first act here feels a little loose. There are many characters to introduce and, for a while, it is difficult to see exactly where the story is heading. The music is fantastic, though I would certainly recommend bringing a pair of earplugs for the first half, as the volume is every bit as unapologetic as the characters themselves. The second half is undeniably stronger with more plot development and a poignant character arc for lead singer Maggie.

There is plenty of sharp observation to enjoy while the plot finds its feet. The scene featuring two women looking out at the Cambridge students is particularly amusing, offering a clever bit of class commentary that landed well with the audience. While the writing of characters like the student Anson and Snead occasionally felt like they might tip over into caricature, the ensemble maintained a high energy that kept the momentum going.

The production design is exceptionally effective; the lighting manages to pivot between the electric, “bright lights” feel of a concert and the dingy, claustrophobic atmosphere of a college changing room. It perfectly captures the spirit of disaffected youth at a time when the sixties were beginning to turn sour.

At the heart of the show is Rebecca Lucy Taylor. She is wonderful as Maggie, capturing the character’s brash boldness alongside a deep, aching vulnerability. Maggie is a woman with very little agency in a world controlled by men, and Taylor brings a modern resonance to the role. In the programme, she reflects on why she took the part, noting how little has changed in the fifty years since the play was written:

“The parallels are crazy. Everyone hates her. They hate her because she’s making what could be a nice little life hard. But she’s not doing it to upset them, she’s not even really thinking about them. She just wants to make it. She wants to be a big fucking star, and her music to be heard, and her place in the world to be won.”

Taylor has also added some of her own music to the original score, and her vocal performances are powerhouse moments, supported by an exceptionally talented group of musicians.

Teeth ‘n’ Smiles is excellently performed and creatively staged, even if the script itself feels like a period piece that perhaps does not offer enough new insight for 2026. However, it is worth it for the chance to see Taylor’s magnetic performance and to experience a piece of theatrical history.

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