Review: GEORGE WASHINGTON’S TEETH at Desert Theatreworks

George Washington’s Teeth, currently playing at Desert Theatreworks (DTW),  is a screwball comedy, but it is also a fun educational experience. Not too many people know that the Father of our Country had one natural tooth left at the time of his inauguration as the first president of the United States. They’ll know after seeing this play.

Despite what many Americans have read, George Washington did not actually wear wooden false teeth. According to the official Mount Vernon Web site, which has an extensive write-up about Washington’s teeth and dental problems:

Washington employed dentures that were constructed of a variety of materials, including human teeth; cow, donkey, or horse teeth; hippopotamus, walrus, and possibly elephant ivory; lead, tin, copper, and silver alloys, and gold.

https://www.mountvernon.org/george-washington/health/washingtons-teeth

However, no wood.

The play discusses Washington’s oral issues in quite a bit of detail, and adds information about the people who may have sold teeth for use in the dentures. According to what I’ve read, the individuals who sold teeth may have been enslaved, either at Mount Vernon or elsewhere. I found myself wondering who got to keep the proceeds — the owners of the teeth, or the owners of the people who owned the teeth.

Despite the nuggets of history that the play imparts, some of it quite grim, there is an amusing plot only tangentially related to teeth. Specifically, the town of Bunion, somewhere in New England, may have to close its history museum because the museum doesn’t have enough donations or visitors to cover the bills. The Board members are frantic about this turn of events and drive each other crazy trying to find ideas to raise money. Then they hear about a possible savior: A woman whose personal collection has some amazing pieces that would save the Bunion museum, if the owner agrees to let the historical society borrow the pieces instead. They are the kind of artifacts that would attract numerous visitors and donors — artifacts such as dentures that the donor’s ancestor fashioned for George Washington.

The DTW production got started slowly, in part because some of the cast members seemed to be struggling with lines. More important, Mark St. Germain’s script is not particularly funny for about the first ten minutes except for a few groaners. However, everything clicked into place after that time, and the  fine ensemble cast really got to show off their considerable acting chops.

The direction, by DTW stalwart Hal O’Connell, is superb. [Disclosure: Mr. O’Connell and I are good friends who have appeared together on stage.] For this play, he adheres to the philosophy of DTW’s artistic director, Lance Phillips, who is a proponent of “movement theatre.” As a result, much of the comedy comes from the actors’ stage business, repairing any weaknesses in the writing. I especially enjoyed when the Louisa character breaks into song and dance to demonstrate the methods that her enslaved ancestors used to communicate vital information about how to escape. This amazing song and dance number, thanks to the talent of Collette “Coco” Maria Owens, who plays Louisa, is worthy of a Broadway musical. And pay careful attention to the first entrance of Char Hecht, who plays Jess Wilder, a wild woman dressed in black, with thick black lower lashes (at least I think that’s what they’re supposed to be) painted on her face. Ms. Hecht is new to DTW. I hope we’ll be seeing more of her. Margo Blessing (Edie Plotz, a narcoleptic who would love to go out with a particular man), Janae Kleban (Hester Bunion, an uptight, moneyed woman who is beginning to forget important things), and Alexana Thomas (Ann Mather, a no-nonsense trophy wife who seems to be losing the interest of her older husband) together make up the museum board. Their interactions as three women who don’t mind sniping at each other create numerous laughs. And I can’t forget Stan Jenson (another actor whom I count as a friend and whom I have worked with), whose radio voice is perfect for his three voice-over roles.

There is plenty of action to keep the audience laughing through the zany hijinks at the end. For those of us who have been historical reenactors (I spent awhile portraying a German immigrant who followed the Union Army selling sugar, pencils, and paper to the soldiers) I can almost guarantee that you’ll appreciate a scene involving a reenactment that is part of the wild crescendo at the climax.

Finally, I don’t want to forget the technical designers, who have done a bang-up job with the scenery, costumes, and props. These really reflect the appearance of a small town historical society museum and incidentally, generate a great deal of laughs. The design crew consists of Christopher Clemie (set design), Jason Lambert (lighting design), Lance Phillips (costume design), Maddox Phillips (sound design and stage manager), Hal O’Connell (props), Austin Spencer-Treinen (light board), Raul Valenzuela (special assistant to the CEO), and Brad Albion (volunteer coordinator). Ron Phillips is DTW’s CEO and Lance Phillips is the artistic director.

Desert Theatreworks is located at the Indio Performing Arts Center, 45175 Fargo Street, Indio, CA 92201. George Washington’s Teeth will run from now through Sunday, October 25, 2026. Run time is approximately two hours, including intermission. Evening performances (Thursday, October 22nd, Friday, October 23rd, and Saturday, October 24th) begin at 7:30 p.m. Matinees (Saturday, October 24th and Sundays, October 18th and October 25th) begin at 2 p.m. Purchase tickets ($44-$46) and obtain further information at www.dtworks.org or https://dtworks.thundertix.com/events/264330, or call (760) 980-1455. The show is suitable for ages ten and up.

The rest of DTW’s 2026-27 season consists of:

Sister Act: A Divine Musical Comedy (Nov 13, 2026 - Nov 29, 2026). When disco diva Deloris Van Cartier witnesses a murder, the police hide her in a convent, where she turns the choir into a soul-shaking, heaven-raising, pew-packing sensation. Based on the 1992 film.

PETER PAN GOES WRONG (Dec 11, 2026 - Jan 3, 2027). From the Olivier-nominated team behind Broadway's The Play That Goes Wrong, this screwball comedy follows the hapless Cornley Polytechnic Drama Society as they attempt to stage J.M. Barrie's beloved Peter Pan. What could possibly go wrong?

STEEL MAGNOLIAS (Jan 15, 2027 — Jan 31, 2027).  Robert Harling's masterpiece about the women in Truvy's Louisiana beauty shop, where they gossip, bicker, celebrate, and grieve their way through life. Laughs abound, but so do tears.

CLUE: ON STAGE (Feb 12, 2027 — Feb 28, 2027). Desert Theatreworks says good-bye to Tim Curry in the madcap murder mystery based on his 1985 film and the board game that has been entertaining children and adults for decades. A group of mysterious strangers arrive at Boddy Manor planning a relaxing weekend, but someone wants someone else dead.

9 to 5: THE MUSICAL (Mar 12, 2027 - Apr 4, 2027). Desert Theatreworks honors Dolly Parton, who wrote the score for the musical and starred in the movie upon which the musical is based. Three fed up women decide to teach their obnoxious, chauvinistic boss a lesson by holding him prisoner.

Photo Credit JAY JARVIS

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