Review: Les Liaisons Dangereuses (Lyttelton Theatre)

Review by Daz Gale

⭐️⭐️⭐️⭐️

This week saw two new productions opening at the National Theatre, both wildly different, demonstrating the versatility you can always find at their London home. While the Dorfman was showcasing a world premiere in The Authenticator, the Lyttelton Theatre was reviving a classic, with a thrilling new production of Les Liaisons Dangereuses. Of course, even the classics will always have a new twist on them when presented at National Theatre, and this is no exception. The question is would Marianne Elliott’s new staging of this play be able to seduce audiences, or would she be playing a dangerous game?

First published in 1782, Pierre Choderlos de Laclos’ Les Liaisons Dangereuses has seen many adaptations in the centuries since across film, television and theatre, with the 1990s cult classic (and recent stage adaptation) Cruel Intentions itself a reworking of the story. The production playing at the Lyttelton Theatre is a revival of Christopher Hampton’s 1985 adaptation, last seen in London ten years ago. The play sees Marquise de Merteuil and Vicomte de Valmont form an alliance as they turn seduction into a strategy and weaponise desire, using others as pawns in their dangerous game to see who can be conquered and have their hearts stolen. However, their alliance soon turns into a rivalry, leading to a battle between them that might just have dire consequences for anyone who gets in their way.

Christopher Hampton’s adaptation remains as compelling now as it did when it first premiered, as does the basis of the original novel. No matter how familiar you are with the story or any of its many adaptations, there is something fascinating about the exploration of these characters and the complex way the audience are encouraged to feel conflicting things for them - from feeling shocked and appalled at the way they treat other people with such disregard, while seeing the crumbs of humanity in each of the two leads that suggest there is more to their seemingly heartless nature than initially meets the eye. The writing remains wonderful throughout, becoming increasingly more gripping as the story roars to its conclusion.

What sets this production of Les Liaisons Dangereuses apart from those that have come before is Marianne Elliott’s staging. It can be said that her style can be somewhat unusual, though it is certainly distinct, and this production demonstrates her at her best. It is a slick and stylish production, with a stage full of mirrors - this can be interpreted in many ways - holding a mirror up to society, the use of smoke and mirrors (something that literally happens in one scene) and ensuring everything on stage is always exposed, though that said, there are moments characters appear out of blind spots in a stroke of genius from Elliott’s direction. Much credit must also go to Rosanna Vize for her striking set design - different elements may feel at odds with each other in the design, but they somehow blend together to bring something new to the story, and are always visually thrilling.

The gorgeous visual continues with a stunning use of costume design from Natalie Roar, most notably on the character of Marquise de Merteuil, in a beautifully detailed series of outfits that matched the opulence seen in aspects of the set design. Elliott’s staging incorporates a lot of movement, with an incredible use of choreography from Tom Jackson Greaves prominent throughout. The movement plays a key part in the storytelling, with characters breaking away from dancing to share glimpses into their character in an incredible piece of direction. It is the meticulous way Elliott has thought about how she is going to tell this story that is key to the success, managing to stay true to Hampton’s adaptation while offering something new, brave and daring. It is quite fitting for the title of the show that some of these choices feel dangerous, but the risk more than pays off, creating a rich and layered world.

Two recognisable names lead the cast of this production, with Aidan Turner at his best as Vicomte de Valmont. Turner is marvellous as the cunning and charismatic character, brilliantly balancing his seductive and charming nature with elements of humanity that trickle through at moments throughout. It is his movement that adds an extra layer to his characterisation, with every overly dramatic turn perfectly timed and adding even more grandeur to a character who is already bursting with it.

The other star name is Lesley Manville as Marquise de Merteuil, who quite rightly is the star of the show, not just by name alone. Her performance is exhilarating to watch, as Manville dominates the stage and pulls the strings at every turn. Her character is the catalyst for events, and even while she goes toe to toe with Turner’s Valmont, Manville always seems to have the upper hand in an exquisitely detailed and magnificent portrayal. The scenes starring both Turner and Manville together take this production to glorious new heights, with the sparring match and ever-changing relationship between them utterly compelling to witness.

Though they may be the two biggest names, the rest of the cast more than match the impeccable standard Turner and Manville set, displaying sensational performances of their own. Monica Barbaro thrills as Madame de Tourvel in a slow-burning performance that plays to her strengths as an actor, offering little to begin with in a performance that seems to encapsulate the spirit of “stiff upper lip” before letting herself be won over by the events of the play and offering a versatility in her characterisation. Another standout performance comes from Hannah van der Westhuysen as Cecile de Volanges, matching Barbaro in how much her performance grows along with her character, but to the opposite effect. Beginning the play sweet and naive, the subsequent events mean she is unrecognisable by the time it draws to its conclusion, with Westhuysen a marvel in these developments.

Les Liaisons Dangereuses is a production full of stars, but the jewel in its crown belongs to director Marianne Elliott. Her creative vision for this adaptation has led to a version of the play never seen before, offering something bold and daring while never doubting its fit with the original narrative. The result is a thrilling production that feels sleek, slick and stylish, but with enough substance to back it up. It may have been a dangerous idea to create such a distinct version of a story so well-loved by so many, but it has paid off in riches, leading to a production that seduced me so much, I would happily be back for another liaison.

Les Liaisons Dangereuses plays at the Lyttelton Theatre until 6th June. Tickets from https://www.nationaltheatre.org.uk/productions/les-liaisons-dangereuses/

Photos by Sarah Lee