The Golden Globe, Academy Award and Emmy winner Christine Lahti has made her London stage debut with The Smile of Her. Moving, intimate and emotionally intelligent, this acclaimed autobiographical play explores generational relationships and fractures, growing up in and learning how to navigate existing in a patriarchal society. Both funny and life-affirming, it shows the power of forgiveness and seeing other women in all their messy, complex humanity. I spoke to Christine about her incredible play, and the themes that underpin it.
What motivated you to create this autobiographical play which foregrounds the female experience, now?
I’m such an activist and feminist in my bones. For me to create an autobiographical play, it could only be through that lens; the feminist lens. It had to be about my journey, and my coming of age as a feminist.
What was it like performing yourself, or your younger self? Was it therapeutic or emotionally taxing? Did you learn anything about yourself in the process?
It’s been very therapeutic. I’ve learnt a lot about forgiveness and understanding, because I understand more about the complexity and nuances of others’ behaviour and why they did what they did. But also I’ve forgiven myself for the ways in which I have acted out because of internalised misogyny. The ways in which I maybe haven’t been completely supportive of other women. I ask myself now: “Why am I judging that woman for something? Oh, that’s because that is what I was taught to do.”
I’ve always been a gal’s gal, but there are moments when I also don’t think I matter still. My story, as I show in the play, of sexual assault, is something I didn’t even want to include in the play. It was because of my director, my collaborator, Melissa Annis, who told me: “The reason you’re not honouring that story as worthy is because of this internalised patriarchy that still exists in you.” There are still shreds of it that I haven’t eradicated.
I was struck by the set design; the whole play is set in one room, with different worlds created within it. What was your intention behind this?
Yes, it was completely intentional. My brilliant set designer and I collaborated on that white room, which represented the patriarchy: the claustrophobia, the limitations, the sterility, the striving for perfection. I kept getting pulled back into it.
Can you speak about the multiple, diverse versions of femininity you presented within the play? From your mother, to your friends, to your younger self. You managed to present them with complexity without vilifying any one.
Yes. For example, the primary relationship in the play is between me and my mother. It was really important to me that she evolved and didn’t stay as a kind of caricature in any way. There was such a worship towards her at the beginning, then such a divide during my early feminist years, and then there was a coming together. I had to go through those years of judging her – I wanted more from life than what she was offered.
That’s the generational hope mothers have for their daughters. I want my daughter to stand on my shoulders, but I want the view to be better up there than I have it down here.
Is there one specific message you really hope audiences will take from this play, or are you leaving it up to interpretation?
A bit of both. One of the most gratifying responses I’ve had to this play is a woman who came up to me on opening night and said, with tears in her eyes: “I feel seen.” That was everything.
I do believe there’s healing in the telling. By taking up space and having our voices heard, telling our stories, there’s real inspiration in that for others, for other women to do the same. That’s my hope.
What’s next for you? What’s something coming up that you’re excited to work on?
I don’t know yet! I want to direct. There’s something I’ve been trying to get off the ground to direct. I feel so inspired by this experience, and I’m ready to keep going.
I have no thoughts about ever retiring; I feel like I’m in my prime right now, at the age of 76, and that’s cool.
What’s something you’ve watched, or read recently, that you’ve loved?
I just saw 1536. In preparation for this play, Gloria Steinem and bell hooks were my primary inspirations. I would really recommend The Will to Change.
What’s the best piece of advice you’ve ever been given?
It’s odd, because my dad was such a chauvinist, although he wasn’t aware of it. But he did teach me that if I worked hard enough, the sky was the limit. The truth is, there are a lot of obstacles for people of colour, women, minorities and people in a variety of circumstances. But that essential message is pure and good.
You can see The Smile of Her at Marylebone Theatre, until the 28th August 2026. Get your tickets here.
