Christine Lahti's autobiographical show, The Smile of Her, at Marylebone Theatre in London, tackles a multitude of important issues and emotional pressure points within a brisk 90-minute runtime. The play weaves together the story of family life, misunderstandings between mothers and daughters, Lahti's career trajectory, a second-wave feminist awakening, and a post-#MeToo reflection on showbusiness when the casting couch was the norm and female actors were judged for their 'fuckability.' However, the breadth of material proves to be the production's central flaw.
Set Design and Performances
Lahti performs on Sarah Beaton's near-empty stage, which features occasional neon lights and a white sofa covered in 'upscale plastic.' This design evokes the sterility of the unhomely 1950s Michigan home where she grew up, reflecting her parents' demand for perfectionism. Under the direction of Mêlisa Annis, a young actor—Isabella Ford on press night—accompanies Lahti on stage, portraying her childhood self. This device introduces some drama and dialogue, though not enough to fully engage the audience.
Life Chronology and Emotional Depth
The play is a chronological walk through Lahti's life, from childhood to college to her decision to become an actor. She recounts being told she was too tall and not pretty enough to succeed, and being expected to visit hotel rooms for meetings with the implication of sex. These revelations are juxtaposed with reminiscences of her achievements: a back-screen displays images from her past, and a video clip accompanies an anecdote about winning a Golden Globe while in the bathroom. The tone and material present a strange mix, with autobiographical chronology pulling against depth and dramatic intensity.
Family Dynamics and Trauma
Lahti describes her family as a midwestern version of the Von Trapps on steroids, a line that captures her parents' insistence on plastic-covered happiness amid turmoil. She had five siblings, a mother who smiled through suppressed pain, and a father who was physically violent, using a belt. The narrative briefly touches on mental illness, rape, and untimely death, but these experiences are summarized rather than explored in depth. The audience is left wanting more examination of each awful incident, but the story moves relentlessly forward to the next life event.
Missed Potential
The result is a play that seems to cover everything, yet its focus is too broad and later too blurred to carry vivid drama. This is a shame, as the material contains shocking, tragic, and incendiary elements that are not given enough oxygen to unleash their terrible power. The Smile of Her runs at Marylebone Theatre, London, until 29 August.
