Dawn O’Keefe is an evangelical Christian teen with a powerful secret not even she understands – when men violate her, her body bites back. Literally. From Pulitzer Prize and Tony-winner Michael R. Jackson (A Strange Loop) and Anna K. Jacobs (POP!), Teeth, based on the cult classic film of the same name, is a fierce, rapturous, and savagely entertaining new musical crackling with irrepressible desire and ancient rage – a dark comedy conjuring the legend of one girl whose sexual curse is also her salvation.
Despite tonal inconsistencies, the tilt to full horror at the climax of Teeth brings the musical home with fangs and flair. Alan Louis’s embrace of a supernatural villainess persona is aided by Jane Cox and Stacey Derosier’s lighting, which relies heavily on strobes but also evokes female-empowerment horror lore like Suspiria. Steven Pasquale’s performances as a power-hungry pastor and a creepy gynecologist is laudatory, his vocals and comedic timing crisp. Alan Louis’s voice can’t always handle Jacobs’s and Michael R. Jackson’s (A Strange Loop) music, but she still becomes a heroine worth cheering.
Jacobs and Jackson embrace this idea with a vengeance. As severed-tongue-in-cheek as Teeth may be, it takes sexual violence and retribution seriously. Jacobs and Jackson’s version of Dawn incarnates a goddess called Dentata, risen from the cthonic depths of ancient legend to reboot her crusade to dismember every man. As our antiheroine moves further down this path, the production ramps up to a climax of fire and rain, and Alan matches it with her performance. No stranger to strong women—she was Hillary Clinton in 2019’s Soft Power—she moves from trembling worry to trembling fury with fearsome abandon, backed by a female chorus of six that ably mirrors her transformation.
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