Teeth ‘n’ Smiles at the Duke of York’s Theatre

50 years since David Hare’s Teeth ‘n’ Smiles first hit the stage – with Helen Mirren storming it as Maggie Frisby, said to be inspired by Janis Joplin – many musical movements have long since passed. So, in 2026, as one of the UK’s brightest current pop stars steps into Frisby’s boots, how does a play set in the 60s’ flailing final days hold up? With surprisingly strength, actually.

Under Daniel Raggett’s direction, Rebecca Lucy Taylor (aka Self Esteem) plays Maggie for this revival; “The parallels are crazy,” she says of the character’s trajectory, reflecting on her own journey as one half of folk duo Slow Club before her solo career took off. “They hate [Maggie]… But she’s not doing it to upset them. She just wants to make it.”

As Maggie, Taylor is mesmerising, commanding your attention both when fronting the band and during the offstage moments – initially, she’s a beguiling artist hiding behind a bottle and her own legend as very prominent cracks are brushed over. Once the levee breaks, Taylor channels her own experiences into Maggie’s cataclysmic shift; the rage is stunningly terrifying, and the malaise hits hard.

Taylor as Maggie is undeniably the headliner, yet some strong players remain among the rest of the cast. Phil Daniels’s blokey manager Saraffian is charming, ably shifting between retelling slightly-too-long war stories and cutting through the drama when needed. As it’s the late 60s, the band seemingly come together for three things: the songs, seeking their next hit – sexually or narcotically – and waiting around backstage; Jojo Macari as Peyote, the bass player, is the standout here (quite possibly more drugs than human), rattling around with his hilarious high-octane antics.

A love triangle between Maggie, old flame Arthur and band publicist Laura is more like an isosceles with Maggie at the top; there’s promise in Michael Fox’s performance, but it’s missing further conviction in his feelings for both, while Laura sadly feels pushed aside. It’s possible some era-appropriate misogyny is at play for the character, but for a 21^st-century adaptation, Aysha Kala could have had more to work with.

As for Nick and Tony Bicât’s songs, they excellently reflect the band’s conflicting identity as a 60s band looking towards the 70s (but might not get there) – highlights include Don’t Let The Bastards Come Near You and the glorious swansong Last Orders. Raggett’s direction has the cast bolting every which way as mayhem erupts, with the songs performed on a raised platform, and hazy stage lighting and orange lightbulbs adding to this setup of yesteryear. Throw in flames and an actual dog, and the suitably chaotic staging completes the image.

Hare’s script is undoubtedly of its time, with seemingly little done to adjust for a 21^st-century audience. And that’s fine. It’s a window into a long-gone era that many today weren’t alive for, it stands as an authentic representation of the music industry back then. So much has changed, but has it really?

Teeth ‘n’ Smiles is well worth seeing – don’t miss it.

Gem Hurley
Photos: Helen Murray

Teeth ‘n’ Smiles is at the Duke of York’s Theatre from 13^th March until 6^th June 2026. For further information or to book, visit the theatre’s website here.

Watch the trailer for Teeth ‘n’ Smiles at the Duke of York’s Theatre here: