In the glittering world of West End theatre, star casting often draws comparisons to reality TV spectacles, but Rebecca Lucy Taylor's performance in the revival of David Hare's Teeth 'n' Smiles at the Duke of York's Theatre breaks that mould with raw authenticity. Known professionally as the award-winning singer-songwriter Self Esteem, Taylor brings a compelling depth to the role of Maggie Frisby, a 1960s rock band frontwoman, in a production that runs until 6 June.
A Perfect Match for Hare's Biting Drama
Taylor's transition from music to acting is seamless, rooted in her earlier ambitions and a praised stint in Cabaret in 2023. David Hare's 1975 play, originally starring a young Helen Mirren, delves into the disillusionment of an era that promised social and sexual revolutions but delivered cynicism. Today, its themes resonate anew, exposing the vampiric nature of the music industry that exploits talent until it shatters.
Chaotic Glamour and Emotional Turmoil
As Maggie, Taylor embodies a chaotic glamour, staggering across the stage in tasselled peach silk and thigh-high tiger boots, her performance capturing the essence of a drink-addled artist. Her breakdown mid-song, lamenting "I suck and I suck and there's nothing left in it," poignantly reflects the exhaustion of milking dried-up material. Hare's naturalistic writing immerses the audience in the purgatorial slowness of band life, filled with waiting, drugs, and petty conflicts over money and sex.
Supporting Cast and Social Commentary
The play is set during Jesus College's May Ball in Cambridge, where Maggie's band kills time amid repulsively eloquent students. Jojo Macari delivers brilliant physical comedy as Peyote, a bassist high on narcotics, while Michael Fox portrays the idealistic songwriter Arthur, brooding over Maggie's failure to ignite a revolution. Phil Daniels mesmerises as the band manager Saraffian, a character torn between being a working-class hero and a figure trapped in a noble self-image that clashes with grubby realities.
Staging and Musical Elements
Director Daniel Raggett's staging balances Hare's witty one-liners with the story's inherent bleakness, culminating in an apocalyptic ending where band members stumble through flames. The production features rough-edged rock songs performed on a stage that rolls towards the audience, dazzling with bright lights and raw aggression. However, some critics note a lack of softer emotional depths, suggesting Taylor's everygirl approachability might undercut the heartbreak, or perhaps Maggie is simply dead inside after years of unfulfilled revolutionary hopes.
This revival not only showcases Taylor's talent but also reaffirms Hare's play as a timeless critique of an industry that consumes its stars, making it a must-see for theatre enthusiasts and music fans alike.
