What does Rebecca Lucy Taylor bring to the stage in the revival of Teeth ‘n’ Smiles? Taylor, also known as the pop star Self Esteem, plays the character Maggie in this production, which is a revival of David Hare’s 1973 play. The performance is set against the backdrop of a chaotic gig at a university ball in 1969, capturing a moment in time that resonates with both nostalgia and cultural reflection.

Directed by Daniel Raggett, Teeth ‘n’ Smiles has been met with a mixed critical response, currently holding an average rating of 3.2 stars. Critics have noted Taylor’s performance, with Sarah Crompton stating, “Taylor is sensational as Maggie, full of self-loathing and fight in almost equal measure, staggering around the stage but never going down.” This praise highlights Taylor’s ability to embody the complexities of her character, making her performance a focal point of the production.

The play features original songs by Nick and Tony Bicât, adding a unique musical element that complements the narrative. This revival is not just a rehash of an older work; it aims to breathe new life into Hare’s exploration of the music scene and its impact on personal identity and societal norms. However, some critics question the relevance of the play in 2026, with Fiona Mountford commenting, “Does it have anything of burning import to say to us in 2026? The awkward answer is a resounding ‘No.'” This raises important questions about the longevity and adaptability of theatrical works.

Teeth ‘n’ Smiles is being staged at the Duke of York’s Theatre until June 6, 2026, allowing audiences ample opportunity to experience this revival. The production’s setting during a university ball in 1969 provides a rich historical context that enhances the narrative, drawing parallels between past and present in the music industry.

As the production continues, the audience’s reception will likely evolve. The play’s exploration of a minor-league rock band at a pivotal moment in history invites reflection on the nature of fame and the struggles artists face. Nick Curtis raises a valid point by questioning the necessity of reviving this dated piece, asking, “Why revive this dated piece about a minor-league rock band combusting at Jesus College Cambridge’s 1969 May Ball?” This skepticism invites further discussion about the role of theatre in addressing contemporary issues.

Despite the mixed reviews, Taylor’s dual identity as a musician and actress brings a unique perspective to the role of Maggie. Adam Bloodworth notes, “Self Esteem’s live performances with the band…are compelling,” suggesting that Taylor’s musical background enriches her theatrical performance. This crossover appeal may attract a diverse audience, bridging the gap between music lovers and theatre enthusiasts.

As the production unfolds, it will be interesting to see how audiences respond to the themes presented in Teeth ‘n’ Smiles. The juxtaposition of historical context with modern sensibilities creates a dynamic viewing experience. While some critics remain skeptical about the play’s relevance, Taylor’s performance may very well be the highlight that draws in viewers and sparks conversation about the evolving landscape of both music and theatre.

In summary, Rebecca Lucy Taylor’s role in Teeth ‘n’ Smiles exemplifies the intersection of music and theatre, showcasing her talents in a revival that both honors and questions its historical roots. With the production running until June 2026, audiences have the opportunity to engage with this thought-provoking piece of art.

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