Self Esteem and David Hare on Reviving the Rock Romp Teeth 'n' Smiles
In a vibrant revival of David Hare's 1975 play Teeth 'n' Smiles, artist Rebecca Lucy Taylor, known as Self Esteem, takes on the lead role of Maggie Frisby. The production, now running at London's Duke of York's theatre until 6 June, brings to life a nihilistic tale of a hippie band's implosion amidst drugs, booze, and violence. Originally set in 1969, the play has been updated with extra music and lyrics by Taylor, who finds striking parallels between the 1970s disillusionment and today's music industry challenges.
A Play That Shook the Ceiling
David Hare recalls the original 1975 production at the Royal Court theatre, starring Helen Mirren, as a groundbreaking event. "It really shook the plaster off the ceiling," Hare says, describing how it challenged the puritanical norms of the time. The play was a hit, resonating with audiences through its raw portrayal of countercultural dreams fading into mid-70s discontent. Hare once thought it too tied to its era to be revived, but Taylor's involvement has proven otherwise.
Mirroring Today's Music Industry
For Self Esteem, reading Teeth 'n' Smiles was a revelation. "I couldn't believe how it mirrors what the music industry today is like," she explains. She points to the "mundanity and weirdness" of tour life and the ongoing lack of duty of care for performers as universal truths. Hare nods, recalling how artists like Brian Jones and Janis Joplin were dismissively labeled as "casualties" in that era.
Taylor also sees similarities in the broader societal disillusionment. "I feel like something is dying that I grew up believing in," she shares, referencing political hopes and the impact of digital platforms like TikTok and AI on music. She laments the shift away from album formats and the rise of marketing-driven success, feeling "extinct" in a conveyor-belt industry.
Inspirations and Prophetic Insights
Hare drew inspiration from his student days, including a grumpy Manfred Mann gig and his time with Portable Theatre, a travelling company. He aimed to critique the 1960s counterculture's revolutionary claims while embracing its rebellion against 1950s repression. The play uniquely incorporates rock music without "cheating," as Hare puts it, by showing both the performance and backstage chaos.
Remarkably, Teeth 'n' Smiles foreshadowed punk's arrival. Songs like Bastards and themes of nihilistic destruction echoed punk's ethos. Hare notes that Malcolm McLaren, manager of the Sex Pistols, loved the play and saw its alignment with punk's disruptive spirit. "He was both extremely charming and so obviously a conman," Hare recalls of McLaren.
A Character of Hope and Fearlessness
Taylor finds inspiration in her character, Maggie Frisby, who embodies both drunken recklessness and clear-eyed fearlessness. "Maggie can see it's not working, it's all bullshit," Taylor says, admiring her thirst for experience. This resonates with Taylor's own struggles against societal expectations, such as the pressure for a "happy-ever-after" narrative.
Despite the play's intense energy, which Hare admits leaves him "terrified," Taylor embraces the discomfort. "I want people to be uncomfortable," she asserts, hoping the revival sparks conversation about modern disillusionment.
Looking Ahead
As Teeth 'n' Smiles returns to the stage, it offers a timely reflection on music, society, and the enduring search for meaning. With Self Esteem's fresh perspective and Hare's enduring script, this revival promises to captivate audiences, blending 1970s grit with contemporary relevance.
