The first iteration of Teeth, in the higher-brow context of Playwrights Horizons, tied itself in ideological knots as it barreled into its back half. Jackson and Jacobs have Dawn, here endowed with eldritch powers that infect the rest of Teeth’s female ensemble, become all too powerful. Teeth builds to a big, bloody, apocalyptic climax — again, very much in the mode of Carrie and especially Little Shop — and as it gets there, suddenly inserts a reminder that revenge taken to any extreme is bad. Beware a feminocracy, it says, as much as a patriarchy. It’s a fair conclusion, if also the sort of thing that can read as a cop-out. In this go-round, Benson has placed a heavier emphasis on the thrill of Dawn’s rise to power, and she floors it, coherence be damned. During Dawn’s tense falling-out with Loftin’s character, she’s wearing a Taylor Swift T-shirt that reads “A LOT GOING ON AT THE MOMENT.” Then there’s all that blood and the hail of severed genitalia. All contribute to a feeling that we’re all sailing Thelma & Louise–style over the cliff of bad taste and reveling in it as we go down. The momentum gets the audience to the place where the recrimination may sting more pointedly. You wore the poncho. You cheered for the blood. You’ve got teeth in you too.
Critics' Reviews
Teeth Is Back and Biting Harder
From: Vulture | By: Jackson McHenry | Date: 10/31/2024
From: The Stage | By: Lane Williamson | Date: 10/31/2024
The show boldly posits the notion that musical theatre can be impactful, without being didactic. Its points about sexuality and consent, shame and religion are all well made and crystal clear – yet Jacobs and Jackson never baldly declare them outright. It’s a tricky task – and they’ve nailed it.
Reader Reviews
Teeth: The Musical - A Bloody Good Time That Bites Back
By:
mike d.
|
Date: 12/01/2024
Teeth: The Musical delivers a razor-sharp blend of campy horror and searing social satire, pushing boundaries and audiences’ expectations with its unapologetically bold story. Adapted from Mitchell Lichtenstein’s 2007 cult film, this theatrical gem reimagines the tale of Dawn O’Keefe, a devout Christian teen who discovers her unique defense mechanism—vagina dentata—with electrifying music, irreverent humor, and jaw-dropping special effects. The show is anchored by Alyse Alan Louis’s fearless portrayal of Dawn. Her transformation from a naive "promise keeper" into a vengeful goddess is riveting, with Louis bringing depth, vulnerability, and a wicked sense of humor to the role. Her character’s interactions with a colorful cast—including Andy Karl’s over-the-top pastor and Will Connolly’s slimy Brad—highlight a razor-sharp commentary on purity culture, toxic masculinity, and female empowerment. The music, composed by Anna K. Jacobs, fuses bubblegum Christian rock with darker, theatrical undertones. Hits like Dawn’s hymn to chastity and Brad’s hilariously creepy anthem to “Truth Seekers” are catchy earworms that stick with you long after the curtain falls. Co-written by Jacobs and Pulitzer-winning playwright Michael R. Jackson (A Strange Loop), the lyrics are wickedly clever, packed with biting wit and gleeful vulgarity. The production itself is a feast for the senses. Jeremy Chernick’s jaw-dropping special effects steal the show, with blood splatter, unexpected transformations, and audacious visual gags that had the audience alternately gasping and roaring with laughter. Adam Rigg’s dynamic set design, Jane Cox and Stavey Derosier’s atmospheric lighting, and Enver Chakartash’s camp-perfect costumes further elevate the experience, turning the stage into a living, pulsing house of horrors. At its core, Teeth is more than shock and spectacle. The production’s feminist underpinnings, its commentary on autonomy and agency, and its ability to hold a mirror to societal hypocrisies make it a thought-provoking triumph. Whether you’re a fan of boundary-pushing theater or just in the mood for something utterly unforgettable, Teeth: The Musical promises to leave its mark—literally and figuratively.
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