The Donmar Warehouse is currently reviving Christopher Hampton’s award-winning adaptation of the French classic Les Liaisons Dangereuses 30 years after it wowed the critics. The only novel ever completed by Pierre Choderlos de Laclos, published in 1782, and entirely made up of letters, the scenes in the play naturally take on a generally ‘gossipy’ tone, often involving two or more characters negatively discussing a third party. Telling of a Parisian socialite, the Marquise de Merteuil, who now competes with her former lover, the Vicomte de Valmont, in games of intrigue, seduction and revenge, she challenges him to seduce not only a virgin, but the beautiful and virtuous married woman, Madame de Tourvel.
All the signs looked good as I took my seat and admired Tom Scutt’s marvellous set design which successfully conjured up aristocratic 18th century France; from the gilded cornices illustrating the height and opulence of the drawing room in which the first scene would shortly commence, a romantic painting to the left, a harpsichord to the right, and five glistening chandeliers suspended over the stage with real lit candles. Even the air was perfumed with that tac-like scent we associate with the past.
Dominic West as Vicomte de Valmont
Having had a rocky time in promoting the production following Michelle Dockery (Downton Abbey) dropping out just before rehearsals due to a personal bereavement, the remaining box office draw shifted almost entirely upon Dominic West as the womanising and disreputable Vicomte de Valmont. But, as so often with big stars who headline, he greatly disappointed during the press matinée. Fluffing his lines on several occasions in the first half, West’s performance floundered, with the audience forced to endure countless hesitations as he struggled to search for his lines.
Alas, this lack of confidence was in complete contradiction to the cocksure and slippery character he was attempting to play (a role made famous by John Malkovich in the 1988 Stephen Frears-directed film version Dangerous Liaisons), and whilst he managed to redeem himself in the second half, his portrayal of Valmont simply wasn’t as loathsome, conniving or as perverted as it should have been, nor did he appear to have any particular chemistry with Janet McTeer as the manipulative La Marquise de Merteuil – she might as well have been his aged aunt Madame de Rosemonde. This timid staging has about as much sex in it as a garden fête in the home counties, with only one scene, in which Valmont writes a letter on the buttocks of his mistress, Émile (Jennifer Saayeng), conveying the illicit sauciness in keeping with the original work.
Morfydd Clark as Cécile with Janet McTeer as Marquise de Merteuil
Adding to the overall shaky performance level, Edward Holcroft was irredeemably tongue-tied in his first scene as Valmont’s so-called friend, Le Chevalier Danceny, nor was McTeer immune to the odd stumble, however she soon got into her stride as the Marquise de Merteuil and succeeded in being the most dominant force – although she would have been more enjoyable to watch had she not been unnecessarily reliant upon elaborate mannerisms and flowery hand gestures. Skilfully portraying this feisty and manipulative woman who uses her jealousy to wreak revenge on practically any number of her acquaintances, when her character’s schemes finally began to unravel following Valmont’s demise, she delivered a gripping portrait of temerity in going on with the game.
In the end though, I can only unreservedly praise three actresses; Una Stubbs, who was enchanting as Valmont’s devoted aunt Madame de Rosemonde (albeit a small role); Morfydd Clark shone as Cécile, the fair-haired daughter of Madame de Volanges who, fresh from the convent was an easy target for Valmont’s seduction techniques, and was hilarious in the scene in which he steals into her bedroom at night; and Elaine Cassidy was a revelation in the role of Madame de Tourvel (originally intended for Michelle Dockery), which fitted her like a hand in a glove and allowed her to showcase not only a great range but an astonishing naturalness which made her co-stars strangely improve whenever she made an appearance.
Janet McTeer as Marquise de Merteuil
I’m not trying to suggest that all the blame should be laid at the cast’s door – Josie Rourke, whose greatest achievement to date was directing The Vote (screened on Channel 4 live on election night), failed to inject much wit, eroticism or suspense into this bodice-ripping tale of 18th century Paris society, and it was all there for the taking, just like Valmont’s women. Although a largely entertaining production, the cast still have a lot of ironing out to do for the audience to feel as they should; as if they had spent an evening eavesdropping on conversations or peeping through keyholes, for surely anyone who is a fan of the original book will be left feeling a little anti-climatic.
Les Liasons Dangereuses at the Donmar Warehouse until 13th February 2016 and broadcast live in UK cinemas on 28 January as part of NT Live. Running time approximately 2 hours 45 minutes including an interval. For more information and tickets visit the website.
